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		<title>20211215 homework</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* 罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of ''the Northern Dynasty'' that the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:20, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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(Song · Zhao Yanwei's ''Yunlu Manchao'', Volume 2 has the same record) and Song · Ye Zhen, Volume 1, ''Ai Ri Zhai Cong Chao'': &amp;quot;''In the History of Jade Pot'', when King Cao Wu hui (Cao Bin) was on the year ahead in the first week of his birth, his parents viewed the year he took with a hundred toys on the table.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 12:24, 20 December 2021 (UTC)Chen Huini&lt;br /&gt;
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（also recorded in Volume 2 of ''Yunlu Essay'' by Zhao Yanwei，Song Dynasty） Volume 1 of ''Ai Rizhai Essay'' by Ye Zhen，Song Dynasty：“ ''History of Jade Pot'' records that King Wuhui（Cao Bin）'s parents put many toys on the table and observed his choice when he was 100 days years old.”--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:53, 22 December 2021 (UTC)&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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Zhi Zhi Ge Wu - originated from ''The Book of Rites·Daxue'': &amp;quot;The intention of Zhizhi refers to Gewu, and after the process of Gewu, knowledge will be obtained.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: to acquire, and to obtain.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 14:45, 20 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 09:18, 29 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Welcoming her granddaughter, lady Dowager takes pity on the orphan girl.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 11:13, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Rainvillage Merchant, turning round in a hurry, perceived that the speaker was no other than a certain Chang Rugui, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Rainvillage Merchant, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:11, 25 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Rainvillage Merchant, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Rainvillage Merchant.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:42, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Rainvillage Merchant was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Rainvillage Merchant to request Lin Ju-hai, then, in his turn, to appeal to Master Merchant in the capital for support.Rainvillage Merchant accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:45, 29 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Mascara Jade Forest heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Mascara Jade Forest.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Master Jia had seen his brother-in-law's letter, immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when Rainvillage Merchant arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Master Jia had received  his brother-in-law's letter, he immediately invited him to come in to meet. Rainvillage Merchant looked tall and handsome and talked well. And Master Jia most like scholar, courtesy, saving, great predecessors style; Therefore, Master Jia is very good to Rainvillage Merchant. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Mascara Jade abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Master Merchant，and left for his post on a certain day. Now, when Mascara Jade disembarked that day, she was served by a sedan chair sent by the Rongguo Mansion and a luggage cart. Mascara Jade heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Mascara Jade Forest out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Forest is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Forest is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Mascara Jade entered the room. Realizing that this was her grandmother, she was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Mascara Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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Grandma Merchant then introduced them respectively to Mascara Jade Forest: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; She greeted them one by one. Grandma Merchant then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Mascara Jade Forest hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Mascara Jade Forest's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, Grandma Merchant couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Mascara Jade.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Mascara Jade Forest's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Mascara Jade Forest's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Mascara Jade Forest was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Mascara Jade Forest replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Mascara Jade Forest, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Mascara Jade Forest is still taking ginseng pills.And Grandma Merchant said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandma Merchant said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Mascara Jade Forest thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Mascara Jade Forest is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Splendid Pheonix King wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Mascara Jade Forest hastily got up to curtsy to  her. Grandma Merchant said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Splendid Pheonix King, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Mascara Jade Forest promptly rose quickly to greet her. Grandma Merchant said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Pheonix’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Mascara Jade Forest was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King, named scientifically Splendid Phoenix King, was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Romance Second Merchant.” Although Mascara Jade Forest had never met her, she heard of her from his mother: Romance Merchant, the son of her Uncle Pardon Merchant, had married the niece of Aunt King,named scientifically Splendid Phoenix King,was brought up as a male offspring since childhood. Mascara Jade Forest was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked up and down her carefully, then she sent her toGrandma Merchant's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Mascara Jade Forest's hand, Splendid Phoenix King looked her up and down carefully, then sent her to Grandma Merchant's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Merchant laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:14, 22 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Mascara Jade Forest nodded one by one. At the same time, Splendid Phoenix asked, &amp;quot;Have Miss Forest's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Splendid Phoenix was talking, and she arranged them by herself.  Lady King asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Splendid Phoenix King said, and  Lady King answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Lady King added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Splendid Phoenix King said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Lady King smiled, nodded and said nothing. Now the refreshments were cleared away and the Grandma Merchant ordered Nanny Walk and Nanny Woodhouse to take Mascara Jade Forest to see her two uncles. At this time, Lady City, the wife of Pardon Merchant also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Lady City smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Mascara Jade Forest to see her two uncles. At this time, Lady Xing immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Grandma Merchant laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Lady City promised, and said goodbye to Lady King with Mascara Jade Forest , all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Lady City set in the car with Mascara Jade Forest, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
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The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Lady City asked Mascarra Jade to sit down and then let others invite Pardon Merchant in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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Daiyu stood up and agreed one by one. Sitting for a moment and then said goodbye, Mrs. Xing painstakingly stay to eat a meal. Daiyu smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&amp;quot;--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:44, 20 December 2021 (UTC)&lt;br /&gt;
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Mascara Jade Forest stood up and agreed one by one. Sitting for a moment and then said goodbye, Lady City painstakingly stay to eat a meal. Mascara Jade Forest smile back: &amp;quot;aunt love to give rice, should not resign; just have to go over to see second uncle, afraid to go late disrespectful, another day to receive. I hope aunt forgive me.&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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Lady City said: “That’s fine.” So she ordered two Sisters to send Mascara Jade Forest back by Carriage used before. So Mascara Jade Forest farewell others. Lady City saw her off to the gate of etiquetteand said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:26, 20 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Jubilee Hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Source Merchant, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by Mu Shibai, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady King often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady King seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nannies led Mascara Jade Forest through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nannies urged  Mascara Jade Forest to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Mascara Jade sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Lady King invited Miss Forest to come and sit over there.&amp;quot; When the old Nanny heard this, she led Mascara Jade out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Mascara Jade thought that this was Master Merchant's seat， because she saw that there were three chairs next to the bed with a half-used chair, so Mascara Jade sat down on the chair. She sat down next to Lady King after she had asked her to go to the bed again and again. Lady King said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
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Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot;  Lady King and  Mascara Jade Forest  went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
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Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
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So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
Grandama Merchant said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant sat down：Spring Pleasure Merchant  sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Grandama Merchant said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Mascara Jade Forest then sat down. Grandama Merchant  ordered Lady King to sit down. The three sisters of Spring Pleasure Merchant were asked to sit down: Spring Pleasure Merchant sat first on the right hand, Seeking-Spring Merchant second on the left, and Cherishing Spring Merchant second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
&lt;br /&gt;
Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Silk Plum and Splendid Phoenix King sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. Mascara Jade Forest took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[Media:Example.ogg]]==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Mascara Jade Forest saw many rules here are not like her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Mascara Jade Forest  also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Grandma Merchant said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Mascara Jade saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Mascara Jade gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Dowager Lady Jia said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
&lt;br /&gt;
Lady King stood up and said something idle, then led Lady Plum and Splendid Phoenix King to leave. When Dowager Lady Jia asked Mascara Jade what books she had read, Mascara Jade replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Mascara Jade asked her sisters what books they read, Dowager Lady Jia said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lady King rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and Splendid Phoenix king.Grandma Merchant, having inquired of Mascara Jade what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Mascara Jade replied. &amp;quot;What books are my cousins reading?&amp;quot; Mascara Jade went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed Grandma Merchant; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Precious Jade was&lt;br /&gt;
coming. Mascara Jade was speculating in her mind how it was that this Precious Jade had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Grandma Merchant &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Mascara Jade Forest saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Precious Jade Merchant greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
Translation: The poor lived up to the good times, and the country was hopeless at home.&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
天下无能第一，古今不肖无双。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
&lt;br /&gt;
English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
&lt;br /&gt;
But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Precious Jade had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
归了坐细看时，真是与众各别。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
&lt;br /&gt;
I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
态生两靥之愁，娇袭一身之病。&lt;br /&gt;
&lt;br /&gt;
The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
&lt;br /&gt;
Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211208_homework&amp;diff=134903</id>
		<title>20211208 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211208_homework&amp;diff=134903"/>
		<updated>2021-12-30T05:51:17Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;We talked for a while and give me two bundles of silver when leaving.&amp;quot; Hearing this, Mrs. Zhen feel sad and keep silent the whole night.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 07:03, 9 December 2021 (UTC)&lt;br /&gt;
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“After talking for a while, he gave me two Liang of silver before he left. &amp;quot; The Zhen lady listened and felt sad. I was kept silence all night.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:08, 9 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。&lt;br /&gt;
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The next day, Jia Yucun armer Gelehrter sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su Bauer asked him to ask the Zhen lady for the delicate HM Lucky as concubine. Feng Su Bauer was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank  Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。&lt;br /&gt;
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One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini&lt;br /&gt;
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At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。&lt;br /&gt;
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Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.&lt;br /&gt;
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It was said that the girl Jiaoxing, was the one who looked back on Yucun. Because of of a casual glance, they made this fantastic destiny, which was also an unexpected thing. Who knew that his fate was so unpredictable: she was so lucky that wthin a year of marriage she bore a son; and after another half year Yucun's first wife suddenly died of an illness, and then he took Jiaoxing as his principal wife.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 14:16, 12 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. And because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of tael given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:01, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。&lt;br /&gt;
Although he was very capable, he was a bit accustomed to corruption, was too harsh on his subordinates, and relied on his outstanding talents, and showed little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was got goods by his superior and wrote these things into a memorial to the throne, saying that he was cunning by nature, tampering with etiquette privately; and writing down one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:54, 12 December 2021 (UTC)&lt;br /&gt;
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Although capable, he was a bit accustomed to corruption,  too harsh on his subordinates, relying on his outstanding talents, showing little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was accused by his superior of his cunning by nature, tampering with etiquette privately and mention of one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:03, 12 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was smiling as often without any complaint complexion.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 02:29, 8 December 2021 (UTC)&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was still smiling without any complainment on the face.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:37, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。&lt;br /&gt;
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After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。&lt;br /&gt;
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This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently designated by Imperial appointment as a Censor attached to the Salt Inspectorate, and had arrived at his post only a short time.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 15:06, 12 December 2021 (UTC)&lt;br /&gt;
This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently named by Imperial appointment a Censor attached to the Salt Inspectorate, and had arrived at his post only a short while back.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:33, 12 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。&lt;br /&gt;
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In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)&lt;br /&gt;
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In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. Now he was fifty years old, and had only a three-year-old son, who died last year.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:13, 10 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。&lt;br /&gt;
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Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Mascara Jade Forest, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)&lt;br /&gt;
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Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)&lt;br /&gt;
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The story goes that Jia Yucun caught a cold occasionally at the inn, after recovering his money almost running out. He wanted to get a place to rest himself. He came across two old friends who acquainted with the new official of salt, knowing that he would hire a tutor for his daughter, so they recommended Jia Yucun to the government office.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:39, 12 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。&lt;br /&gt;
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The girl student was young and in poor health, the number of her assignments unnessesary with two servant girls, so Yucun needed less effort and could convalesce. Unexpectedly, the girl's mother, Ms.Jia died of illness after nearly a year.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:06, 12 December 2021 (UTC)&lt;br /&gt;
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The female pupil was youthful in years and delicate in physique, so that her lessons were irregular. There were only two waiting girls, who remained in attendance during the hours of study, so that Yue-ts'un was spared considerable trouble and had a suitable opportunity to attend to the improvement of his health.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:50, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。&lt;br /&gt;
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The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)&lt;br /&gt;
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During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable  to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。&lt;br /&gt;
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He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)&lt;br /&gt;
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Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled &amp;quot;Zhitong Temple&amp;quot;, and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.&lt;br /&gt;
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When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care about him. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:33, 8 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”&lt;br /&gt;
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”&lt;br /&gt;
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He wanted to go to the village pub for a drink to take the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:28, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。&lt;br /&gt;
Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng. They met in the city before. Yucun praised him as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant was busy looking at this man, who was an antiquary in the city. The man was called Leng Zixing who he’ve met in the city before. Rainvillage Merchant praised him most as a competent person, and he borrowed Rainvillage Merchant’s name, so these two men are agreeable with each other.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:34, 13 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Rainvillage Merchant eagerly inquired also smilingly. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune.&amp;quot; &amp;quot;I went home,&amp;quot; Zi Xing replied, &amp;quot;at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Rainvillage Merchant eagerly and smilingly inquired. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is a strange piece of good fortune.&amp;quot; &lt;br /&gt;
&amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;about the close of last year, but now as I am again bound to the capital, I passed through here on my way to look up a friend and have a chat.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:20, 8 December 2021 (UTC)&lt;br /&gt;
--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:39, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。&lt;br /&gt;
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He had the kindness to press me to stay with him for a couple of days longer. As I also have no urgent business to attend to, I am tarrying a few days, but purpose starting about the middle of the moon. My friend is busy today, so I roamed listlessly as far as here, never expecting of such a fortunate meeting.&amp;quot; While speaking, he invited Rainvillage Merchant to sit down at the same table, and ordered a fresh supply of wine and eatables. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:21, 8 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:40, 29 December 2021 (UTC)&lt;br /&gt;
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“He was so kind that he asked me to stay for another couple of days. As I had no other urgencies to attend to, I stayed as he expected. When we chatted til the moon was high above the sky, I got up and left alone. My friend is busy today, so I roamed listlessly as far as here, never expecting such an encounter.&amp;quot; While speaking, he invited Rain Village Merchant to sit down with him, and ordered a fresh supply of wine and dishes.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 07:52, 11 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”&lt;br /&gt;
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Over drinking, they two talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: Is there anything new in the capital city? Joker answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)&lt;br /&gt;
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They two drank and talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: &amp;quot;Is there anything new in the capital city?&amp;quot; Joker answered，“Nothing new. But there happened a strange thing in your dignified remote relative's family.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”&lt;br /&gt;
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Rain-Village laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, are you not a family?” Rain-Village asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:20, 12 December 2021 (UTC)&lt;br /&gt;
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Yucun laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, aren’t  you the same family?” Yucun asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:48, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”&lt;br /&gt;
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Yucun said: &amp;quot;It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)&lt;br /&gt;
Yucun said: &amp;quot;It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”&lt;br /&gt;
Zi Xing sighed, &amp;quot;Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions.&amp;quot; Yucun said: &amp;quot;The Ning and Rong residences had a large population that day. Is it done?&amp;quot; Zi Xing said: &amp;quot;Exactly, it's a long story.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)&lt;br /&gt;
The son sighed: &amp;quot;This is what old Hugh said. The provinces of Rong and Ning are now deserted, not as they were in the past.&amp;quot; Rain village way: &amp;quot;that day ning, rong two house population is also very much, how then deserted?&amp;quot; Zi Xing said, &amp;quot;Exactly. It's a long story.&amp;quot;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:33, 7 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。&lt;br /&gt;
Yucun said: &amp;quot;Last year when I went to Jinlin because I wanted to visit The Remaining Vestiges of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ningguofu, street west is Rongguofu, two houses connected, unexpectedly occupied half of the street.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:32, 7 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:01, 29 December 2021 (UTC)&lt;br /&gt;
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Yucun said, &amp;quot;when I came to Jinling last year, I wanted to visit the ruins of the Six Dynasties. On that day, I entered the stone city and passed in front of his house: Ningguo house is in the east of the street, Rongguo house is in the west, and the two houses are connected, occupying more than half of the street.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:35, 7 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”&lt;br /&gt;
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)&lt;br /&gt;
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Although deserted outside the gate, the hall and pavilions were also lofty and grand seen across the wall.Even in the garden at the back, the trees and rocks were all luxuriant: how did it look like a run-down house?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:14, 7 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。&lt;br /&gt;
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Zi Xing laughed and said, &amp;quot;You are a scholar but know nothing about its cause. There is an ancient saying: ‘old institutions die hard'. Now, though not as prosperous as in previous years, the atmosphere is different from that of ordinary officials.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:09, 7 December 2021 (UTC)&lt;br /&gt;
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Zi Xing chuckled, &amp;quot;You are a scholar but know nothing about its cause. As a old saying goes, ‘old institutions die hard’. Now, though not as prosperous as before, the splendor is different from that of ordinary officials.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:51, 8 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。&lt;br /&gt;
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Their family members are growing, their commitments are increasing, and both masters and servants are used to lavishly controlling it. However no one thinks of the future. They squander money every day and can't save at all. On the surface, they look as noble as before, but their wallets are almost empty. However, this is not their biggest trouble.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:46, 8 December 2021 (UTC)&lt;br /&gt;
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In Jia Mansion, there are many people to bring up, and household duties are getting more and more day by day. Masters and servants, from top to bottom, enjoy glory and wealth but no one to plan. They squander money every day and can't save at all. Although they still extravagant on the surface as ever, their wallets are almost empty. and this is not counted the biggest trouble.     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:47, 8 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”&lt;br /&gt;
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There is one more important event: Who knows that the children of such a luxurious family, the children and grandchildren are not as good as previous generations.&amp;quot; When Yucun heard about it, he also said: &amp;quot;Is there any reason for such a family who always study and pay attention to ethics for generations is bad at education? Although I don't know the situation of other families, it is said that Ning and Rong are the most skillful in teaching children. How did they get to such a situation ? &amp;quot;     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:37, 7 December 2021 (UTC)Liu Wei&lt;br /&gt;
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That's not the worst thing. Who will know that the children of such a noble clan can be inferior to the last.&amp;quot; Hearing about that, Yucun replied:&amp;quot;a family so cultures and versed in etiquette doesn't know the importance of education? Although I don't know other families, I've always heard that these two houses take great efforts to educate their children. How did they fall to such a situation?&amp;quot;--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:45, 8 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；&lt;br /&gt;
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&amp;quot;It's these two houses I'm talking about!&amp;quot; Son Prosperity signed, &amp;quot;Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)&lt;br /&gt;
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Zi Xing sighed, &amp;quot;I was about to say something about these two families! Let me tell you: the Duke of Rongguo, as he is now called, had two brothers from the same mother. Lord Ning was the eldest brother and had two sons，and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:32, 10 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant, for his father had set his heart on becoming a fairy, so he succeeded to the position.  --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now Honor Merchant devotes himself entirely to Taoism and alchemy, and does nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant. For his father has set his heart on becoming immortal, Treasure Merchant succeeded to the position. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:36, 11 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。&lt;br /&gt;
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His father refused to stay at home, but rather preferred to fool around with those Taoist priests. This Master Treasure Merchant also has a son called Prosperity Merchant, who’s only 16 years old. Nowadays Lord Honor Merchant is no longer in charge. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:27, 11 December 2021 (UTC)&lt;br /&gt;
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His father is unwilling to live at home, but prefers to wander around the city to fool around with those Taoist priests. Treasure Merchant also has a son named Prosperity Merchant who is 16 years old. Now, Lord Honor Merchant is no longer in charge. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:42, 12 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。&lt;br /&gt;
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Treasure Merchant would not do any proper thing but to amuse himself. Even if he turns the Ning-Guo House upside down, no one there dares to stop him. Then I will tell you about Rong House where the strange thing that I just mentioned happened. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:24, 12 December 2021 (UTC)&lt;br /&gt;
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Mr Zhen would not do any his proper business，but only amuse himself，and  though he  turned rabbit in Ning Mansion，there is no one who dare to limit him.And I must tell you that some queer things just happen here.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:04, 12 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。&lt;br /&gt;
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Since the death of Rong Gong, the elder son Jia Daishan inherited the official title and get merried with the daughter of an aristocratic family in Jinling. They have two sons: the elder son is called Jia She, the second son is called Jia Zheng. Now Jia Daishan has already passed away with his wife still alive. --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:06, 9 December 2021 (UTC)&lt;br /&gt;
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Since the death of Lord Rong（Jia Yuan), the elder son Jia Daishan inherited the official title and married Shi Hou’s daughter from an aristocratic family in Gold Mausoleum  as his wife. They had two children: the elder son Pardon Merchant, and the second named Master Merchant. Today Daishan has long passed away, and his wife is still alive.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:02, 8 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。&lt;br /&gt;
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The eldest son Pardon Merchant, inherited the official position from his ancestors but  he was not top-notch and did not manage the family affairs as well. Only his second son, Master Merchant, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)&lt;br /&gt;
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Their elder son Pardon Merchant inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Master Merchant, was fond of studying as a child and was a man of upright so that he was his grandfather's (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。&lt;br /&gt;
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Unexpectedly, when Djia Dai-schan (Jia Daishan) died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Master Merchant, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons he had and ordered his sons to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:53, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang --- the wife of Master Merchant gave birth to her first child a boy named Bead Merchant, who entered school at the age of fourteen, then married and got  a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”&lt;br /&gt;
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Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)&lt;br /&gt;
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Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。&lt;br /&gt;
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Rainvillage Merchant laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of history.&amp;quot; Leng Zixing laughed coldly and said, &amp;quot;Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Master Jia tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:51, 29 December 2021 (UTC)&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of fame&amp;quot; Zi Xing laughed ruthlessly and said, &amp;quot;Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说&lt;br /&gt;
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But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Politic Merchant didn't show his preference toward Precious Jade Merchant,but that Grandma Merchant still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)&lt;br /&gt;
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However, he did not take any of them, but only reached his hands out for some powders, hairpins and rings to play with. That action did not please  sir Zheng at all, what’s more, sir Zheng said he would be only a voluptuary in the future. Therefore, sir Zheng did not particularly cherish Baoyu, however, lady dowager still loved him as if he was the most preciou treasure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 05:28, 8 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’&lt;br /&gt;
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Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when  he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)&lt;br /&gt;
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It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, &amp;quot;Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。&lt;br /&gt;
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&amp;quot;Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly.&amp;quot; Jia Yucun said with a serious look: &amp;quot;Not true. Unfortunately, you do not know the identity of this person, may be the old senior Master Merchant may also wrongly regard him or her as a lewd.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)&lt;br /&gt;
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“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Rain Village Merchant said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and senior Master Merchant may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。&lt;br /&gt;
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If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Son Prosperity believed that Rain Village Merchant took it so seriously that he was bursting with impatience to make clear the reasons within it. Rain Village Merchant asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)&lt;br /&gt;
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If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil.&amp;quot;--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；&lt;br /&gt;
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The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)&lt;br /&gt;
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If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。&lt;br /&gt;
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Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)&lt;br /&gt;
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Chi You, Gong Gong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Hui were all born in response to the tribulation. Those who are benevolent cultivate and rule the world, while those who are evil disturb the world. The clear, bright, spiritual and beautiful, the righteousness of heaven and earth, is held by the benevolent; the cruel and perverse, the evil of heaven and earth, is held by the evil.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit are numberless. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:58, 12 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；&lt;br /&gt;
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His cruel and evil spirit could not overflow in broad daylight, so it condensed and filled deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace of half a wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, right should not be evil, evil should be jealous of right, and the two are not the same;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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Its cruel and evil spirit could not overflow in the light of the day, so it condensed and filled in deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace or half wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, the right is incompatible with the evil, and the evil should be jealous of the right, and the two are on the opposite sides.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:59, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。&lt;br /&gt;
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Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)&lt;br /&gt;
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If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:13, 6 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。&lt;br /&gt;
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This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be used by ordinary people.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:12, 6 December 2021 (UTC)&lt;br /&gt;
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This kind of people are usually prominent. Their intelligence and beauty are above millions of people. But their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be people with constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be controlled by ordinary people.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:15, 9 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”&lt;br /&gt;
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Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)&lt;br /&gt;
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Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。&lt;br /&gt;
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Antiquary said: “ As you said, the winner will be the duke, and the loser will be the traitor?”Rainvillage Merchant said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Precious Jade, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)&lt;br /&gt;
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Zixing said, &amp;quot;according to you, if you become a duke, if you lose, you will become a thief.&amp;quot; Yucun said, &amp;quot;that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”&lt;br /&gt;
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? &amp;quot; Zixing, &amp;quot;no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time.&amp;quot;&lt;br /&gt;
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Do you know zhen Jia, president of Qinchai Tiren Academy of Jinling Province in Jinling City?&amp;quot; Zi Xing said, &amp;quot;Who knows? Zhen Fu is jia fu's old man, and the two families are very close to each other. Even I have been with them a long time.&amp;quot;--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 11:00, 12 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。&lt;br /&gt;
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Rain village Merchant smiled and said:”When I was in Nanjing last year, someone recommended me to teach in the House of Merchant. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the scientific examination.”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:45, 8 December 2021 (UTC)&lt;br /&gt;
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Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhen Mansion. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the imperial examination.”--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:15, 12 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。&lt;br /&gt;
Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:18, 29 December 2021 (UTC)&lt;br /&gt;
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Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:56, 13 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:55, 13 December 2021 (UTC)&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 03:15, 13 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。&lt;br /&gt;
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.&lt;br /&gt;
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After class, he went in and met those daughters changed, who were gentle, peaceful, intelligent and elegant. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 14:07, 12 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, ‘In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, &amp;quot;In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”&lt;br /&gt;
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So he got the secret method, and every time he felt the pain, he called his sisters. &amp;quot; Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. &amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)&lt;br /&gt;
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And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:54, 12 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：&lt;br /&gt;
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Zixing said, &amp;quot;The three girls in Jia's mansion are not bad either. Master Merchant's eldest daughter was named First Spring Merchant. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Pardon Merchant'concubine, her name was Spring Pleasure Merchant; The third lady was born to Master Merchant's concubine and was named Seeking-Spring Merchant. The fourth lady is the sister of Treasure Merchant in Ning' mansion, named Cherishing Spring Merchant:&lt;br /&gt;
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“ The three girls in the Jia's mansion aren ’ t bad either ,” rejoined Zixing .“ Master Merchant ’s eldest daughter First Spring Merchant was chosen to be a Lady － Clerk in the palace of the heir apparent because of her goodness , filial piety and talents . The second , Spring Pleasure Merchant, is Pardon Merchant’s daughter by a concubine . The third Seeking-Spring Merchant , is Master Merchant ’ s daughter a concubine . The fourth , Cherishing Spring Merchant , is the younger sister of Treasure Merchant of the Ning Mansion .--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:43, 12 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。&lt;br /&gt;
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As Grandma History is so fondly attached to her granddaughters , they come , for the most part , over to their grandmother ’s place to prosecute their studies together , and each one of these girls is , I hear , without a fault .Rainvillage Merchant said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:37, 12 December 2021 (UTC)&lt;br /&gt;
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“As Grandma History is so attached to these grand-daughters that she makes them study in the Rong Mansion near her, and I hear good reports of them all.” Rainvillage Merchant said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 16:12, 12 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。&lt;br /&gt;
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But how is it that the Family Merchant have likewise fallen into this convention？&amp;quot;&lt;br /&gt;
&amp;quot;Not so！&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month，that she was called First Spring Merchant；And the rest followed Spring in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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But how could that the Family Merchant have also become so vulgar in terms of the name of the daughters？&amp;quot;&lt;br /&gt;
&amp;quot;It’s not what you think&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month in the lunar year, that she was called First Spring Merchant；And then the rest had Spring in their names too. But all the names of the girls of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:49, 11 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。&lt;br /&gt;
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If you don’t believe me, check up carefully when you go back. Rainvillage pounded the table with a laugh. That’s right. The name of my girl student is Mascara Jade. She always pronounces min as mi and misses one or two strokes when writing. That puzzled me every time. Now  I finally understand the reason behind it after hearing your words. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 11 December 2021 (UTC)&lt;br /&gt;
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If you don’t believe me, inquire carefully when you go back. Rainvillage pounded the table and smiled :”That's right. The name of my girl student is Mascara Jade. She always pronounces ‘Min’ as ‘Mi’ and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. “--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:39, 12 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；&lt;br /&gt;
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It's strange that my female student's speech and behavior are different. She is not the same as other ordinary ladies. Hence,I guess that her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not strange that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:30, 11 December 2021 (UTC)&lt;br /&gt;
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No wonder that my female student's speech and behavior are unique and she is not the same as other ordinary ladies. That's because her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not suprising that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 10:43, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”&lt;br /&gt;
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There are no elder sisters. Then we just look forward to the younger generation's son-in-laws. Jia Yucun says: That's it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son's child. Doesn't Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)&lt;br /&gt;
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“No one's left in the elder sisters, Let's just see what will happen to the younger generation's sons-in-law.” “Exactly.”Jia Yucun says:“I've just heard that Master Zheng's got a another son, and his eldest son had given him a grandson. What's the matter with Master Xie? He hasn't had one yet!”--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:40, 13 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。&lt;br /&gt;
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Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”&lt;br /&gt;
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Zi Xing said:&amp;quot; Master Merchant's concubine had given birth to another kid for him after having the son named Precious Jade, and didn't know the kid good or bad. So he only had two sons and a grandson at that time and didn't know the future held. Pardon Merchant also had a son named Romance Merchant, who was about 20 years old. Romance Merchant married Master Merchant's wife Lady King's niece, it was an intermarry between their families, and it's been five years now.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:35, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”&lt;br /&gt;
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Romance Merchant had now paid for an official, but he was also uncomfortable with formal affairs; he was so clever and well-spoken in his career that he was currently living in the house of Master Merchant, Romance Merchant's uncle, and helping with the household chores. There is no idea that since marrying this difficult girl, no one in the house would not praise his wife, and that Romance Merchant would not be able to match her: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:11, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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Romance Merchant had now bought a title as an official, but he was also uncomfortable with formal affairs. He was so clever and well-spoken in his career that he was currently living in the house of Maister Merchant, Romance Merchant's uncle, and helping with the household chores.  After he married his wife, everyone praised her, and that made Romance Merchant less popular: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 10:49, 12 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”&lt;br /&gt;
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After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)&lt;br /&gt;
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After hearing this, Yucun laughed and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have both good and evil temperament.” Zixing said: “It doesn't matter whether these people are good or evil, you should also take a drink rather than only talking about other people's gossip.”--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:12, 12 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”&lt;br /&gt;
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Yucun said: &amp;quot;I have to drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Help yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It's getting dark. We'd better continue our talk after entering the city in case the gate is shut.&amp;quot; --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said: &amp;quot;I accidentally drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Enjoy yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It has been dark. We'd better continue our talk after entering the city in case the gate shuts.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:39, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Rainvillage Merchant. Someone brings a lucky message to you.&amp;quot; Rainvillage Merchant looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Yucun. Someone brings a lucky message to you.&amp;quot; Yucun looked back at once... Who was it? Please expect the next chapter.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:19, 12 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。&lt;br /&gt;
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&amp;quot;Wai Ban&amp;quot;(Foreign class) -- After passing the highest imperial examinations in Qing Dynasty, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, while those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officers who were distributed to the local needed wait for the appointment, according to the official appointment system established in Qing Dynasty.so it was called &amp;quot;outside the shift&amp;quot;. Yin(colleagues)all sidelong glance ── with Yin: namely colleague.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:17, 12 December 2021 (UTC)&lt;br /&gt;
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Foreign class -- After the qing dynasty imperial examinations, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, and those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officer distribution to the local to wait for the officer, according to the shift, so called &amp;quot;outside the shift&amp;quot;. With Yin all sidelong eyes and look ── with Yin: namely colleague.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:56, 12 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。&lt;br /&gt;
Code out of &amp;quot;Shang Shu · Yu Shu · Gao Tao Mo&amp;quot; : &amp;quot;100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere.&amp;quot; Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)&lt;br /&gt;
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The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere.&amp;quot; The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':&amp;quot; Su Qin will say that the king of Chu is passing by Luoyang.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​&lt;br /&gt;
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)&lt;br /&gt;
When his parents heard of this, they cleared the palace and Zhang Le set up music and drinks to welcome him to the countryside for thirty miles. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:30, 10 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。&lt;br /&gt;
Wei Yang - an alternative name for Yangzhou (Jiangsu province). It was one of the &amp;quot;nine states&amp;quot; delineated by the Great Yu. The name is derived from ''Shang Shu - Xia Shu - Yu Gong'': &amp;quot;The Huaihai Sea is only Yangzhou.&amp;quot; The word &amp;quot;but&amp;quot; is synonymous with &amp;quot;wei&amp;quot;.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:27, 10 December 2021 (UTC)&lt;br /&gt;
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Dimension Poplar - another name of Yangzhou (in today's Jiangsu Province) which is one of the &amp;quot;Kyushu&amp;quot; divided by Dayu. From the book Shangshu· Xiashu · Yugong  &amp;quot;the Huaihai sea Wei Yangzhou” &amp;quot;Wei&amp;quot; is &amp;quot;wei”--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:08, 9 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Huaihai sea is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Weiyang city is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao who lived in Tang Dynasty once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:09, 8 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​&lt;br /&gt;
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Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua  boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)&lt;br /&gt;
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Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​&lt;br /&gt;
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Censor of LanTai  - refers to imperial historian who is in charge of impeachment. LanTai  was the  place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”,  the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)&lt;br /&gt;
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Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. Accordimgly, the institution where the imperial historian was later called “LanTai” the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。&lt;br /&gt;
Marquis - Ancient Baron name. In Qin Dynasty, it was called &amp;quot;chehou&amp;quot;, which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to &amp;quot;tonghou&amp;quot;. &amp;quot;Tong&amp;quot; is synonymous with &amp;quot;Che&amp;quot; in Chinese, in this way changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)&lt;br /&gt;
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Marquis──Ancient noble name. In Qin Dynasty, it was called &amp;quot;Che Hou&amp;quot;, and it was the highest rank among the twenty-four ranks. In the Han Dynasty, it was changed to &amp;quot;Tonghou&amp;quot; to avoid the taboo of Han Wudi Liu Che. &amp;quot;Tong&amp;quot; and &amp;quot;Che&amp;quot; are synonymous, which means changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the meritorious deeds of the nobility are passed to the royal family.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:25, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;The Book of Han·Gao Di Jixia&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquis. In the Qing Dynasty, the titles were divided into Gong, Marquis, Bo, Zi, and Male, and Marquis was the second class.&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;Book of Han• Han Gaozu ( the first emperor of Han dynasty)&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquess. In the Qing Dynasty, the titles were divided into Duck,Marquess, Earl, Viscount, Baron and Marquess was the second class.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 16:03, 11 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”&lt;br /&gt;
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Desolate at the knees means that there are few children, especially no sons. Under the Knee: it means children. The reason why children are called knee is that children often nestle to their parents' knees.''The Classic of Filial Piety·Shengzhi'' says &amp;quot;the feeling of affection grows up at parents’ knees. As children grow up, they become more and more respectful of their parents.&amp;quot; Emperor Xuanzong of Tang Dynasty noted: &amp;quot;Be close to your parents and love them. Under the knees is the time of a child.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:48, 8 December 2021 (UTC)&lt;br /&gt;
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Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. &amp;quot;The Book of Filial Piety·Shengzhi&amp;quot;: &amp;quot;Therefore, the days of adoptive parents are strict under the knees of one's own birth.&amp;quot; Tang Xuanzong's note: &amp;quot;You are still in love with you, and under your knees is the time of a child.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。&lt;br /&gt;
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─  the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called &amp;quot;west seats&amp;quot; or &amp;quot;west guests&amp;quot;.&lt;br /&gt;
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Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called &amp;quot;west seats&amp;quot; or &amp;quot;West guests&amp;quot; for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。&lt;br /&gt;
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: &amp;quot;Emperor  Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West.&amp;quot; Here refers to a tutor.A couplet of &amp;quot;behind you&amp;quot; - there is surplus behind you: it means that the remaining years are still very long (&amp;quot;behind you&amp;quot; cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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忘缩手：是说不肯收手，还要争名夺利。 &lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​&lt;br /&gt;
No way: desperate. This association means that most people in the world only care about the present, regardless of the future, and wait until they are desperate and regret it. ​&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。&lt;br /&gt;
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Sha-Sanskrit transliteration provincial name, free translation is the columnar spire of the stupa, so it is also called &amp;quot;Buddha column&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。&lt;br /&gt;
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.​&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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百足之虫，死而不僵——典出三国魏·曹冏《六代论》：&lt;br /&gt;
A hundred-footed worm does not die - an allusion to Cao Jon's &amp;quot;Six Dynasties&amp;quot; in the Three Kingdoms.&lt;br /&gt;
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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“故语曰：‘百足之虫，死而不僵。’扶之者众也。”&lt;br /&gt;
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them.&amp;quot;&lt;br /&gt;
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[[File:Example.jpg]]==Zohaib Chand 202121080005==&lt;br /&gt;
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比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。&lt;br /&gt;
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。&lt;br /&gt;
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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僵：倒下。​安富尊荣──语出《孟子·尽心上》：&lt;br /&gt;
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Stiff: fall down. ​Safety, wealth and honour──From the words &amp;quot;Mencius·All Your Heart&amp;quot;:&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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“君子居是国也，其君用之，则安富尊荣。”&lt;br /&gt;
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A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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原意是君子因辅佐国君功勋卓著而享受荣华富贵。&lt;br /&gt;
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Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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这里反用其意，意谓不劳而获，安享荣华富贵。​&lt;br /&gt;
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The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)&lt;br /&gt;
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The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC) ​&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”&lt;br /&gt;
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Zhongming Ding Shi-Quoting Tang Wang Bo's &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan, the home of Zhong Ming Ding Shi.&amp;quot; --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)&lt;br /&gt;
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Zhongming Ding Shi-Speech by Tang Wang Bo &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan rushes to the ground, the home of Zhongming Ding Shi.&amp;quot; -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。&lt;br /&gt;
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The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)&lt;br /&gt;
The ancient nobles rang the bells and set out to eat. To describe wealth and luxury. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 07:09, 8 December 2021 (UTC)&lt;br /&gt;
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The ancient nobility enjoy their meal with tripod as cookware and the bell set as background music, which indicates occupying high positions and great wealth.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 14:33, 12 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211208_homework&amp;diff=134902</id>
		<title>20211208 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211208_homework&amp;diff=134902"/>
		<updated>2021-12-30T05:47:15Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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说了一会话，临走又送我二两银子。”甄家娘子听了，不觉感伤。一夜无话。&lt;br /&gt;
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&amp;quot;We talked for a while and give me two bundles of silver when leaving.&amp;quot; Hearing this, Mrs. Zhen feel sad and keep silent the whole night.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 07:03, 9 December 2021 (UTC)&lt;br /&gt;
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“After talking for a while, he gave me two Liang of silver before he left. &amp;quot; The Zhen lady listened and felt sad. I was kept silence all night.&lt;br /&gt;
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--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 07:08, 9 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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次日，早有雨村遣人送了两封银子、四匹锦缎，答谢甄家娘子；又一封密书与封肃，托他向甄家娘子要那娇杏作二房。封肃喜得眉开眼笑，巴不得去奉承太爷，便在女儿前一力撺掇。&lt;br /&gt;
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The next day, Jia Yucun armer Gelehrter sent two bundles of silver and four brocades to thank the Zhen lady; Another secret letter to Feng Su Bauer asked him to ask the Zhen lady for the delicate HM Lucky as concubine. Feng Su Bauer was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 14:01, 4 December 2021 (UTC)&lt;br /&gt;
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The next day, Yucun sent two bundles of silver and four brocades to thank  Zhen lady; He also sent another secret letter to Feng Su, asking him to ask Jiaoxing, the daughter of Zhen Lady, to be his second wife. Feng Su was so happy that he was eager to flatter the Lord, so he tried his best to encourage his daughter.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 07:56, 5 December 2021 (UTC)Chen Huini&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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当夜用一乘小轿，便把娇杏送进衙内去了。雨村欢喜，自不必言；又封百金赠与封肃，又送甄家娘子许多礼物，令其且自过活，以待访寻女儿下落。&lt;br /&gt;
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One evening, Jiaoxing was sent to prison by a small sedan carriage. Undoutedbly, Yucun was very pleased and gave hundreds of golds to Fengsu and many gifts to Zhen's wife so that she can live by herself untill her daugther was found.--[[User:Chen Huini|Chen Huini]] ([[User talk:Chen Huini|talk]]) 11:17, 4 December 2021 (UTC)Chen Huini&lt;br /&gt;
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At that very night he put Jiaoxing in a small sedan-chair and escorted her to the yamen. We don't need to imagine Yucun's satisfaction.He gave Feng Su a hundred pieces of gold and sent Mrs. Zhen many gifts, telling her to take good care of herself that she can find her daughter.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:11, 7 December 2021 (UTC)&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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却说娇杏那丫头，便是当年回顾雨村的，因偶然一看，便弄出这段奇缘，也是意想不到之事。谁知他命运两济：不承望自到雨村身边只一年，便生一子；又半载，雨村嫡配忽染疾下世，雨村便将他扶作正室夫人。&lt;br /&gt;
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Now Jiaoxing was the maid who had looked back at Yucun that year, little dreaming that one casual glance could have such an extraordinary outcome.And so lucky she was that wthin a year of marriage she bore a son; and after another half year Yucun's wife was very ill and died, and then he made Jiaoxing his wife, giving her higher position.&lt;br /&gt;
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It was said that the girl Jiaoxing, was the one who looked back on Yucun. Because of of a casual glance, they made this fantastic destiny, which was also an unexpected thing. Who knew that his fate was so unpredictable: she was so lucky that wthin a year of marriage she bore a son; and after another half year Yucun's first wife suddenly died of an illness, and then he took Jiaoxing as his principal wife.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 14:16, 12 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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正是：偶因一回顾，便为人上人。原来雨村因那年士隐赠银之后，他于十六日便起身赴京。大比之期，十分得意，中了进士，选入外班，今已升了本县太爷。&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. But because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of silver given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate. --[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 09:33, 4 December 2021 (UTC)&lt;br /&gt;
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Jiaoxing looked back at Jia Yucun out of curiosity, not out of love. And because of such a chance, from a little girl who was serviced, she became a rich lady who serviced others. It turns out that Yucun because of tael given by Shiyin in that year, he left for Beijing on the 16th. He was lucky enough to won the scholar in the great competition and was selected into the outer class, now has been promoted to the county magistrate.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 05:01, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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虽才干优长，未免贪酷，且恃才侮上，那同寅皆侧目而视。不上一年，便被上司参了一本，说他貌似有才，性实狡猾；又题了一两件徇庇蠹役、交结乡绅之事。&lt;br /&gt;
Although he was very capable, he was a bit accustomed to corruption, was too harsh on his subordinates, and relied on his outstanding talents, and showed little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was got goods by his superior and wrote these things into a memorial to the throne, saying that he was cunning by nature, tampering with etiquette privately; and writing down one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 04:54, 12 December 2021 (UTC)&lt;br /&gt;
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Although capable, he was a bit accustomed to corruption,  too harsh on his subordinates, relying on his outstanding talents, showing little respect for his superiors. Those colleagues had deep resentment towards him. In less than a year, he was accused by his superior of his cunning by nature, tampering with etiquette privately and mention of one more things of acting wrongly out of personal considerations of those who harmed the interests of citizens and conluding with the squire.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:03, 12 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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龙颜大怒，即命革职。部文一到，本府各官无不喜悦。那雨村虽十分惭恨，面上却全无一点怨色，仍是嘻笑自若。&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was smiling as often without any complaint complexion.--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 02:29, 8 December 2021 (UTC)&lt;br /&gt;
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The emperor was extremely irritated and immediately removed him from office. Every official of this department was glad when the dismission information arrived. Though  very guilty and regretful, Rainvillage was still smiling without any complainment on the face.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 07:37, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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交代过了公事，将历年所积的宦囊，并家属人等，送至原籍，安顿妥当了，却自己担风袖月，游览天下胜迹。那日偶又游至维扬地方，闻得今年盐政点的是林如海。&lt;br /&gt;
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After giving official business,leaving the family his accumulated salary for several years and settled them in native home, he had given up high official positions and riches and travelled the famous historical sites everywhere.One day he arrived Weiyang（Yangzhou，Jiangsu Province，China）by accident and heared about the present salt administration officer was Lin Ruhai Salzinspektor.--[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 04:23, 5 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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这林如海姓林名海，表字如海，乃是前科的探花，今已升兰台寺大夫，本贯姑苏人氏，今钦点为巡盐御史，到任未久。&lt;br /&gt;
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This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently designated by Imperial appointment as a Censor attached to the Salt Inspectorate, and had arrived at his post only a short time.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 15:06, 12 December 2021 (UTC)&lt;br /&gt;
This Lin Ju-hai's family name was Lin, his name Hai and his style Ju-hai. He had obtained the third place in the previous triennial examination, and had, by this time, already risen to the rank of Director of the Court of Censors. He was a native of Ku Su. He had been recently named by Imperial appointment a Censor attached to the Salt Inspectorate, and had arrived at his post only a short while back.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 13:33, 12 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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原来这林如海之祖，也曾袭过列侯的，今到如海，业经五世。起初只袭三世，因当今隆恩盛德，额外加恩，至如海之父又袭了一代，到了如海便从科第出身。&lt;br /&gt;
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In fact, the ancestors of Lin Ju-hai had, from years back, successively inherited the title of Marquis, which rank, by its present descent to Ju-hai, had already been enjoyed by five generations. When first conferred, the hereditary right to the title had been limited to three generations; but of late years, by an act of magnanimous favour and generous beneficence, extraordinary bounty had been superadded; and on the arrival of the succession to the father of Ju-hai, the right had been extended to another degree. It had now descended to Ju-hai, who had, besides this title of nobility, begun his career as a successful graduate. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 00:55, 5 December 2021 (UTC)&lt;br /&gt;
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In fact, one of Lin Ju-hai's ancestors five generations earlier had been ennobled as a marquis. The title was originally limited to three generations, but through an act of magnanimous favour and generous beneficence of the Emperor, it had been extended to Lin Ju-hai’s father. Now Lin Ju-hai himself had been obliged to make his way up through the examination system.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 15:21, 5 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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虽系世禄之家，却是书香之族。只可惜这林家支庶不盛，人丁有限，虽有几门，却与如海俱是堂族，没甚亲支嫡派的。今如海年已五十，只有一个三岁之子，又于去岁亡了；&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. He was fifty already, and his only child had died last year at the age of three.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 14:53, 5 December 2021 (UTC)&lt;br /&gt;
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It was not only a family of hereditary emoluments, but also of scholars. Unfortunately, the family was not prolific despite the fact that several branches existed. And Lin Ju-hai had cousins but no brothers or sisters. Now he was fifty years old, and had only a three-year-old son, who died last year.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 14:13, 10 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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虽有几房姬妾，奈命中无子，亦无可如何之事。只嫡妻贾氏生得一女，乳名黛玉，年方五岁，夫妻爱之如掌上明珠。见他生得聪明俊秀，也欲使他识几个字，不过假充养子，聊解膝下荒凉之叹。&lt;br /&gt;
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Although he had several concubines, he was doomed to have no son (to inherit the family line). Only lady Jia, his legal wife, gave birth to a daughter, Mascara Jade Forest, aged five. The couple doted on their daughter like a pearl on the palm of their eyes. Lin Ruhai wanted to teach him to read, because he was smart and handsome, and Lin Ruhai wanted to ease the loneliness of not having a son by pretending to adopt him.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 05:55, 5 December 2021 (UTC)&lt;br /&gt;
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Although he had several concubines, he had no son in his life, and nothing could be done about it. The first wife, Min Merchant, had a daughter named Mascara Jade Forest, who was five years old and loved by the couple as a jewel. Seeing that she looked smart and beautiful, they also wanted to make her literate, but raised her as a son to relieve the sorrow of no son. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:44, 5 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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且说贾雨村在旅店偶感风寒，愈后又因盘费不继，正欲得一个居停之所，以为息肩之地。偶遇两个旧友，认得新盐政，知他正要请一西席教训女儿，遂将雨村荐进衙门去。&lt;br /&gt;
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The story goes that Rainvillage Merchant caught a cold at the inn and recovered. He wanted to get a place to stay but he could not afford the fee. He met two old friends who got acquainted the new official of salt (Ruhai Forest) and knew that Forest was about to hire a tutor for his daughter, so they recommended Rainvillage to the government office.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 13:57, 5 December 2021 (UTC)&lt;br /&gt;
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The story goes that Jia Yucun caught a cold occasionally at the inn, after recovering his money almost running out. He wanted to get a place to rest himself. He came across two old friends who acquainted with the new official of salt, knowing that he would hire a tutor for his daughter, so they recommended Jia Yucun to the government office.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:39, 12 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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这女学生年纪幼小，身体又弱，功课不限多寡，其馀不过两个伴读丫鬟，故雨村十分省力，正好养病。看看又是一载有馀，不料女学生之母贾氏夫人一病而亡。&lt;br /&gt;
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The girl student was young and in poor health, the number of her assignments unnessesary with two servant girls, so Yucun needed less effort and could convalesce. Unexpectedly, the girl's mother, Ms.Jia died of illness after nearly a year.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 02:06, 12 December 2021 (UTC)&lt;br /&gt;
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The female pupil was youthful in years and delicate in physique, so that her lessons were irregular. There were only two waiting girls, who remained in attendance during the hours of study, so that Yue-ts'un was spared considerable trouble and had a suitable opportunity to attend to the improvement of his health.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:50, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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女学生奉侍汤药，守丧尽礼，过于哀痛，素本怯弱，因此旧病复发，有好些时不曾上学。雨村闲居无聊，每当风日晴和，饭后便出来闲步。这一日偶至郊外，意欲赏鉴那村野风光。&lt;br /&gt;
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The girl was dutiful in her attendance during her mother's sickness, and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Being unable for a considerable time to prosecute her studies, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals.One day by some accident, walking beyond the suburbs he came up to a spot encircled by luxuriant clumps of trees and thick groves of bamboos.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 08:07, 5 December 2021 (UTC)&lt;br /&gt;
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During her mother's sickness, the girl was dutiful in her attendance and prepared the medicines. She went into the deepest mourning for her mother's death. Prescribed by the rites, she gave way to such excess of grief that, naturally delicate as she was, broke out anew. Unable  to prosecute her studies for a considerable time, Yue-ts'un lived at leisure and needn't to attend to. Whenever the wind was genial and the sun mild, he would stroll at random after meals. One day by some accident, he walked to the countryside to enjoy the scenery.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:12, 6 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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信步至一山环水漩、茂林修竹之处，隐隐有座庙宇，门巷倾颓，墙垣剥落。有额题曰“智通寺”，门旁又有一副旧破的对联云：身后有馀忘缩手，眼前无路想回头。&lt;br /&gt;
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He walked to a place with luxuriant woods and bamboo groves which is surrounded by hill and streams.And there was a temple half hidden among the foliage whose entrance was in ruins and walls were crumbling. There was an inscription above the gate: Zhi tong Temple. And flanking the gate was a couplet: Though plenty was left after death, one forgot to hold his hand back. Only at the end of the road does one think of turning on to the right back.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 15:04, 6 December 2021 (UTC)&lt;br /&gt;
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Walking to a place surrounded by mountains, swirling water and lush forests and bamboos, there is a temple. The doors and alleys are falling and the walls are peeling off. There is a forehead titled &amp;quot;Zhitong Temple&amp;quot;, and there is an old broken couplet beside the door: I forgot to withdraw my hand behind me, and there is no way to turn back.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 02:02, 6 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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雨村看了，因想道：“这两句文虽甚浅，其意则深。也曾游过些名山大刹，倒不曾见过这话头。其中想必有个翻过筋斗来的，也未可知。&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.&lt;br /&gt;
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Rainvillage Merchant looked at it and thought, &amp;quot;although these two sentences are very shallow, their meaning is deep. I've also visited some famous mountains and great temples, but I haven't seen this sentence. One of them must have somersaulted, and I don't know.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 03:22, 6 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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何不进去一访？”走入看时，只有一个龙锺老僧在那里煮粥。雨村见了，却不在意。及至问他两句话，那老僧既聋且昏，又齿落舌钝，所答非所问。雨村不耐烦，仍退出来。When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.&lt;br /&gt;
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When Yu Cun walked in, there was only one old monk cooking porridge there. Yucun saw him, but he didn't care about him. When he asked him a few words, the old monk was deaf and faint, and his tongue was dull. His answer was not what he asked. Yucun was impatient and still withdrew.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 13:33, 8 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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意欲到那村肆中沽饮三杯，以助野趣，于是移步行来。刚入肆门，只见座上吃酒之客，有一人起身大笑，接了出来，口内说：“奇遇，奇遇！”&lt;br /&gt;
He wanted to go to the village pub for a drink, for the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”&lt;br /&gt;
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He wanted to go to the village pub for a drink to take the pleasure of nature. So he went on his way. When He entered the pub, he could only see the drinking men in the seats. A man got up and laughed, and then came out, saying repeatedly“What a fortuitous meeting！”--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:28, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村忙看时，此人是都中古董行中贸易，姓冷号子兴的，旧日在都相识。雨村最赞这冷子兴是个有作为大本领的人，这子兴又借雨村斯文之名，故二人最相投契。&lt;br /&gt;
Yu Cun was busy looking at this man, who was an antiquary in the city. The man was called Zixing Leng. They met in the city before. Yucun praised him as a competent person, and he borrowed yucun’s name, so these two men are agreeable with each other.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant was busy looking at this man, who was an antiquary in the city. The man was called Leng Zixing who he’ve met in the city before. Rainvillage Merchant praised him most as a competent person, and he borrowed Rainvillage Merchant’s name, so these two men are agreeable with each other.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:34, 13 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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雨村忙亦笑问：“老兄何日到此？弟竟不知。今日偶遇，真奇缘也！”子兴道：“去年岁底到家，今因还要入都，从此顺路找个敝友，说一句话。&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Rainvillage Merchant eagerly inquired also smilingly. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is positively a strange piece of good fortune.&amp;quot; &amp;quot;I went home,&amp;quot; Zi Xing replied, &amp;quot;at the end of last year, but now as I return to the capital again, I passed through here on my way to look up a friend of mine and talk some matters over.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 01:39, 6 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;When did you get here?&amp;quot; Rainvillage Merchant eagerly and smilingly inquired. &amp;quot;I wasn't aware of your arrival. This unexpected meeting is a strange piece of good fortune.&amp;quot; &lt;br /&gt;
&amp;quot;I went home,&amp;quot; Tzu-hsing replied, &amp;quot;about the close of last year, but now as I am again bound to the capital, I passed through here on my way to look up a friend and have a chat.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:20, 8 December 2021 (UTC)&lt;br /&gt;
--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:39, 29 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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承他的情，留我多住两日。我也无甚紧事，且盘桓两日，待月半时也就起身了。今日敝友有事，我因闲走到此，不期这样巧遇。”一面说，一面让雨村同席坐了，另整上酒肴来。&lt;br /&gt;
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He had the kindness to press me to stay with him for a couple of days longer. As I also have no urgent business to attend to, I am tarrying a few days, but purpose starting about the middle of the moon. My friend is busy today, so I roamed listlessly as far as here, never expecting of such a fortunate meeting.&amp;quot; While speaking, he invited Rainvillage Merchant to sit down at the same table, and ordered a fresh supply of wine and eatables. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 14:21, 8 December 2021 (UTC)--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 13:40, 29 December 2021 (UTC)&lt;br /&gt;
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“He was so kind that he asked me to stay for another couple of days. As I had no other urgencies to attend to, I stayed as he expected. When we chatted til the moon was high above the sky, I got up and left alone. My friend is busy today, so I roamed listlessly as far as here, never expecting such an encounter.&amp;quot; While speaking, he invited Rain Village Merchant to sit down with him, and ordered a fresh supply of wine and dishes.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 07:52, 11 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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二人闲谈慢饮，叙些别后之事。雨村因问：“近日都中可有新闻没有？”子兴道：“倒没有什么新闻，倒是老先生的贵同宗家出了一件小小的异事。”&lt;br /&gt;
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Over drinking, they two talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: Is there anything new in the capital city? Joker answered，“Nothing new. But in your dignified remote relative's house there is indeed a strange thing.”--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:49, 4 December 2021 (UTC)&lt;br /&gt;
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They two drank and talked about some plans of the near future after the farewell. Then Rain Village Merchant asked: &amp;quot;Is there anything new in the capital city?&amp;quot; Joker answered，“Nothing new. But there happened a strange thing in your dignified remote relative's family.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:25, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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雨村笑道：“弟族中无人在都，何谈及此？”子兴笑道：“你们同姓，岂非一族？”雨村问：“是谁家？”子兴笑道：“荣国贾府中，可也不玷辱老先生的门楣了。”&lt;br /&gt;
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Rain-Village laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, are you not a family?” Rain-Village asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 14:20, 12 December 2021 (UTC)&lt;br /&gt;
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Yucun laughed and said: “No one in my family is in the capital. Why are you talking about this?” Zi Xing said: “You have the same surname, aren’t  you the same family?” Yucun asked: “Who?” Zi Xing answered: “Merchant’s family. I did not slander the family status of the old gentleman.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:48, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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雨村道：“原来是他家。若论起来，寒族人丁却自不少，东汉贾复以来，支派繁盛，各省皆有，谁能逐细考查？若论荣国一支，却是同谱。但他那等荣耀，我们不便去认他，故越发生疏了。”&lt;br /&gt;
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Yucun said: &amp;quot;It's his house. If discussed explicitly, the people of Han's family were of great quantity since the Eastern Han Dynasty of Jiafu. Their branches were numerous in each province, who can examine one by one? If only discussed the branch of Rongguo, they were the same. But the Rongguo were glorious, it was inconvenient for us to make a connection with them, so we were getting more and more unfamiliar. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 08:22, 4 December 2021 (UTC)&lt;br /&gt;
Yucun said: &amp;quot;It turned out to be his family. If you talk about it, there are many Han people. Since the Eastern Han Dynasty, the tribe has been prosperous and there are all provinces. Who can examine it carefully? . But he is so glorious, it is inconvenient for us to recognize him, so we have become more and more estranged.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:02, 6 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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子兴叹道：“老先生休这样说。如今的这荣、宁两府，也都萧索了，不比先时的光景。”雨村道：“当日宁、荣两宅人口也极多，如何便萧索了呢？”子兴道：“正是，说来也话长。”&lt;br /&gt;
Zi Xing sighed, &amp;quot;Old Mr. Xiu said this. The Rong and Ning residences are now depressed, not as good as the previous conditions.&amp;quot; Yucun said: &amp;quot;The Ning and Rong residences had a large population that day. Is it done?&amp;quot; Zi Xing said: &amp;quot;Exactly, it's a long story.&amp;quot;--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 10:01, 6 December 2021 (UTC)&lt;br /&gt;
The son sighed: &amp;quot;This is what old Hugh said. The provinces of Rong and Ning are now deserted, not as they were in the past.&amp;quot; Rain village way: &amp;quot;that day ning, rong two house population is also very much, how then deserted?&amp;quot; Zi Xing said, &amp;quot;Exactly. It's a long story.&amp;quot;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:33, 7 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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雨村道：“去岁我到金陵时，因欲游览六朝遗迹，那日进了石头城，从他宅门前经过：街东是宁国府，街西是荣国府，二宅相连，竟将大半条街占了。&lt;br /&gt;
Yucun said: &amp;quot;Last year when I went to Jinlin because I wanted to visit The Remaining Vestiges of the Six Dynasties, that day into the Stone city, from the front of his house through: street east is Ningguofu, street west is Rongguofu, two houses connected, unexpectedly occupied half of the street.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 14:32, 7 December 2021 (UTC)--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 13:01, 29 December 2021 (UTC)&lt;br /&gt;
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Yucun said, &amp;quot;when I came to Jinling last year, I wanted to visit the ruins of the Six Dynasties. On that day, I entered the stone city and passed in front of his house: Ningguo house is in the east of the street, Rongguo house is in the west, and the two houses are connected, occupying more than half of the street.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 14:35, 7 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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大门外虽冷落无人，隔着围墙一望，里面厅殿楼阁，也还都峥嵘轩峻；就是后边一带花园里，树木山石，也都还有葱蔚洇润之气：那里像个衰败之家？”&lt;br /&gt;
Although deserted outside the gate, across the wall to see the hall hall pavilions, are also lofty xuan Jun; Even in the garden at the back, the trees and rocks were all luxuriant: it did not look at all like a run-down house--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 01:57, 5 December 2021 (UTC)&lt;br /&gt;
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Although deserted outside the gate, the hall and pavilions were also lofty and grand seen across the wall.Even in the garden at the back, the trees and rocks were all luxuriant: how did it look like a run-down house?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:14, 7 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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子兴笑道：“亏你是进士出身，原来不通。古人有言：‘百足之虫，死而不僵。’如今虽说不似先年那样兴盛，较之平常仕宦人家，到底气象不同。&lt;br /&gt;
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Zi Xing laughed and said, &amp;quot;You are a scholar but know nothing about its cause. There is an ancient saying: ‘old institutions die hard'. Now, though not as prosperous as in previous years, the atmosphere is different from that of ordinary officials.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 14:09, 7 December 2021 (UTC)&lt;br /&gt;
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Zi Xing chuckled, &amp;quot;You are a scholar but know nothing about its cause. As a old saying goes, ‘old institutions die hard’. Now, though not as prosperous as before, the splendor is different from that of ordinary officials.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:51, 8 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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如今生齿日繁，事务日盛，主仆上下都是安富尊荣，运筹谋画的竟无一个；那日用排场，又不能将就省俭。如今外面的架子虽没很倒，内囊却也尽上来了。这也是小事。&lt;br /&gt;
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Their family members are growing, their commitments are increasing, and both masters and servants are used to lavishly controlling it. However no one thinks of the future. They squander money every day and can't save at all. On the surface, they look as noble as before, but their wallets are almost empty. However, this is not their biggest trouble.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 10:46, 8 December 2021 (UTC)&lt;br /&gt;
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In Jia Mansion, there are many people to bring up, and household duties are getting more and more day by day. Masters and servants, from top to bottom, enjoy glory and wealth but no one to plan. They squander money every day and can't save at all. Although they still extravagant on the surface as ever, their wallets are almost empty. and this is not counted the biggest trouble.     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:47, 8 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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更有一件大事：谁知这样钟鸣鼎食的人家儿，如今养的儿孙，竟一代不如一代了。”雨村听说，也道：“这样诗礼之家，岂有不善教育之理？别门不知，只说这宁、荣两宅，是最教子有方的，何至如此？”&lt;br /&gt;
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There is one more important event: Who knows that the children of such a luxurious family, the children and grandchildren are not as good as previous generations.&amp;quot; When Yucun heard about it, he also said: &amp;quot;Is there any reason for such a family who always study and pay attention to ethics for generations is bad at education? Although I don't know the situation of other families, it is said that Ning and Rong are the most skillful in teaching children. How did they get to such a situation ? &amp;quot;     --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:37, 7 December 2021 (UTC)Liu Wei&lt;br /&gt;
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That's not the worst thing. Who will know that the children of such a noble clan can be inferior to the last.&amp;quot; Hearing about that, Yucun replied:&amp;quot;a family so cultures and versed in etiquette doesn't know the importance of education? Although I don't know other families, I've always heard that these two houses take great efforts to educate their children. How did they fall to such a situation?&amp;quot;--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 12:45, 8 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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子兴叹道：“正说的是这两门呢！等我告诉你：当日宁国公是一母同胞弟兄两个。宁公居长，生了两个儿子。宁公死后，长子贾代化袭了官，也养了两个儿子：长子贾敷，八九岁上死了；&lt;br /&gt;
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&amp;quot;It's these two houses I'm talking about!&amp;quot; Son Prosperity signed, &amp;quot;Just let me tell you: the Duke of Ningguo and the Duke of Rongguo were brothers by the same mother. The Duke of Ningguo, the elder, had two sons, and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:14, 6 December 2021 (UTC)&lt;br /&gt;
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Zi Xing sighed, &amp;quot;I was about to say something about these two families! Let me tell you: the Duke of Rongguo, as he is now called, had two brothers from the same mother. Lord Ning was the eldest brother and had two sons，and after his death, his oldest son, Jia daihua, succeeded the title. The elder one of his two sons, Jia Fu, died at the age of eight or nine.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 08:32, 10 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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只剩了一个次子贾敬，袭了官，如今一味好道，只爱烧丹炼汞，别事一概不管。幸而早年留下一个儿子，名唤贾珍，因他父亲一心想作神仙，把官倒让他袭了。&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now he devoted himself only to Taoism and alchemy, and did nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant, for his father had set his heart on becoming a fairy, so he succeeded to the position.  --[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:30, 4 December 2021 (UTC)&lt;br /&gt;
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Only his second son, Honor Merchant, survived and succeeded to his position. Now Honor Merchant devotes himself entirely to Taoism and alchemy, and does nothing else. Fortunately, in his early years, he had left a son named Treasure Merchant. For his father has set his heart on becoming immortal, Treasure Merchant succeeded to the position. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:36, 11 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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他父亲又不肯住在家里，只在都中城外，和那些道士们胡羼。这位珍爷也生了一个儿子，今年才十六岁，名叫贾蓉。如今敬老爷不管事了。&lt;br /&gt;
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His father refused to stay at home, but rather preferred to fool around with those Taoist priests. This Master Treasure Merchant also has a son called Prosperity Merchant, who’s only 16 years old. Nowadays Lord Honor Merchant is no longer in charge. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 08:27, 11 December 2021 (UTC)&lt;br /&gt;
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His father is unwilling to live at home, but prefers to wander around the city to fool around with those Taoist priests. Treasure Merchant also has a son named Prosperity Merchant who is 16 years old. Now, Lord Honor Merchant is no longer in charge. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:42, 12 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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这珍爷那里干正事，只一味高乐不了，把那宁国府竟翻过来了，也没有敢来管他的人。再说荣府你听，方才所说异事就出在这里。&lt;br /&gt;
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Treasure Merchant would not do any proper thing but to amuse himself. Even if he turns the Ning-Guo House upside down, no one there dares to stop him. Then I will tell you about Rong House where the strange thing that I just mentioned happened. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 13:24, 12 December 2021 (UTC)&lt;br /&gt;
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Mr Zhen would not do any his proper business，but only amuse himself，and  though he  turned rabbit in Ning Mansion，there is no one who dare to limit him.And I must tell you that some queer things just happen here.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:04, 12 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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自荣公死后，长子贾代善袭了官，娶的是金陵世家史侯的小姐为妻。生了两个儿子：长名贾赦，次名贾政。如今代善早已去世，太夫人尚在。&lt;br /&gt;
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Since the death of Rong Gong, the elder son Jia Daishan inherited the official title and get merried with the daughter of an aristocratic family in Jinling. They have two sons: the elder son is called Jia She, the second son is called Jia Zheng. Now Jia Daishan has already passed away with his wife still alive. --[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 03:06, 9 December 2021 (UTC)&lt;br /&gt;
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Since the death of Lord Rong（Jia Yuan), the elder son Jia Daishan inherited the official title and married Shi Hou’s daughter from an aristocratic family in Jinling  as his wife. They had two children: the elder son named Jia She, and the second named Jia Zheng. Today Daishan has long passed away, and his wife is still alive.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 02:02, 8 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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长子贾赦袭了官，为人却也中平，也不管理家事。惟有次子贾政，自幼酷喜读书，为人端方正直。祖父锺爱，原要他从科甲出身。&lt;br /&gt;
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The eldest son Pardon Merchant, inherited the official position from his ancestors but  he was not top-notch and did not manage the family affairs as well. Only his second son, Master Merchant, loved to read since childhood and was a man of upright. His grandfather (Jia Yuan) like him the most and originally planed to let him take the imperial examination before becoming an official.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:02, 4 December 2021 (UTC)&lt;br /&gt;
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Their elder son Pardon Merchant inherited the official title; he was moderate and often remained neutral, and did not manage the family affairs. Only the younger son, Master Merchant, was fond of studying as a child and was a man of upright so that he was his grandfather's (Jia Yuan) favorite, and he hoped to make a career for himself through the imperial examinations. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 09:05, 4 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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不料代善临终遗本一上，皇上怜念先臣，即叫长子袭了官；又问还有几个儿子，立刻引见，又将这政老爷赐了个额外主事职衔，叫他入部习学，如今现已升了员外郎。&lt;br /&gt;
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Unexpectedly, when Djia Dai-schan (Jia Daishan) died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons there were and ordered them to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Master Merchant, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:40, 4 December 2021 (UTC)&lt;br /&gt;
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Unexpectedly, when Jia Daishan died, he left a valedictory memorial, and the Emperor, out of memory and regard for his former minister, not only conferred the official title on his elder son but also asked what other sons he had and ordered his sons to be introduced to the palace immediately. The Emperor also bestowed the rank of Assistant Secretary on Jia Zheng, and as an additional favor gave him instructions to familiarize himself with affairs in one of the ministries. He has now risen to the rank of Under-Secretary.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:53, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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这政老爷的夫人王氏，头胎生的公子名叫贾珠，十四岁进学，后来娶了妻，生了子，不到二十岁，一病就死了。第二胎生了一位小姐，生在大年初一，就奇了。&lt;br /&gt;
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Mrs. Wang --- the wife of Lord Zheng. Their first child was a son named Jia Zhu, who entered school at the age of fourteen, then married and gave birth to a son, who died of an illness before the age of twenty. The second child was a young girl, born on the first day of the year. It was very surprising.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:45, 4 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang --- the wife of Master Merchant gave birth to her first child a boy named Bead Merchant, who entered school at the age of fourteen, then married and got  a son. But Jia Zhu died of an illness before the age of twenty. The couple’s second child was a girl born on the first day of the year, which was surprising.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 29 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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不想隔了十几年，又生了一位公子，说来更奇：一落胞胎，嘴里便衔下一块五彩晶莹的玉来，还有许多字迹。你道是新闻不是？”&lt;br /&gt;
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Surprisingly, Mrs Wang gave birth to a boy after more than ten years and it is even strange that the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:25, 6 December 2021 (UTC)&lt;br /&gt;
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Surprisingly, after an interval of more than ten years, Mrs Wang gave birth to another male child, and even more miraculously, the boy was born with a piece of colorful and sparkling crystal with handwritings in his mouth. Isn’t it news?--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:22, 6 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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雨村笑道：“果然奇异。只怕这人的来历不小。”子兴冷笑道：“万人都这样说，因而他祖母爱如珍宝。那年周岁时，政老爷试他将来的志向，便将世上所有的东西摆了无数叫他抓。&lt;br /&gt;
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Rainvillage Merchant laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of history.&amp;quot; Leng Zixing laughed coldly and said, &amp;quot;Everyone says so, so his grandmother loves him like a treasure. That year, when he was one year old, Mr. Master Jia tested his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 09:17, 6 December 2021 (UTC)--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 12:51, 29 December 2021 (UTC)&lt;br /&gt;
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Yu Cun laughed, &amp;quot;It's really strange. I'm afraid this man has a lot of fame&amp;quot; Zi Xing laughed ruthlessly and said, &amp;quot;Everyone says like this, so his grandmother loves him like a treasure. When Jia Baoyu was one year old, Mr. Zheng wanted to test his future aspirations, so he laid out countless things in the world for him to grab.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 09:46, 7 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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谁知他一概不取，伸手只把些脂粉钗环抓来玩弄。那政老爷便不喜欢，说将来不过酒色之徒，因此不甚爱惜。独那太君还是命根子一般。说&lt;br /&gt;
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But he didn't catch anything, only reach his hand for some powder,hairpin and ring to play. Mr.Zheng was not satisfied with his action,and thought him as a gambler in the future.Therefore, Politic Merchant didn't show his preference toward Precious Jade Merchant,but that Grandma Merchant still regarded him as her treature,and said:--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 10:01, 7 December 2021 (UTC)&lt;br /&gt;
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However, he did not take any of them, but only reached his hands out for some powders, hairpins and rings to play with. That action did not please  sir Zheng at all, what’s more, sir Zheng said he would be only a voluptuary in the future. Therefore, sir Zheng did not particularly cherish Baoyu, however, lady dowager still loved him as if he was the most preciou treasure.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 05:28, 8 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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说来又奇：如今长了十来岁，虽然淘气异常，但聪明乖觉，百个不及他一个。说起孩子话来也奇，他说：‘女儿是水做的骨肉，男子是泥做的骨肉。我见了女儿便清爽，见了男子便觉浊臭逼人。’&lt;br /&gt;
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Strange to say: now he is ten years old, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, ‘Girls are made of water, men of mud. He will feel debonaire when  he see girls, but when he see men, what he can feel is only squalidness.’--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:34, 5 December 2021 (UTC)&lt;br /&gt;
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It's strange to notice that now he is ten years more older, abnormally naughty , but smart and clever, even better than one hundred other children of his age. What he says is also very odd. Once he said, &amp;quot;Girls are made of water, men of mud. I qwill feel debonaire when I see girls, but when I see men, what I can feel is only squalidness.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:18, 5 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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你道好笑不好笑？将来色鬼无疑了。”雨村罕然厉色道：“非也。可惜你们不知道这人的来历，大约政老前辈也错以淫魔色鬼看待了。&lt;br /&gt;
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&amp;quot;Don't you think it's ridiculous? He or she will be a lecher in the future undoubtedly.&amp;quot; Jia Yucun said with a serious look: &amp;quot;Not true. Unfortunately, you do not know the identity of this person, may be the old senior Master Merchant may also wrongly regard him or her as a lewd.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 13:14, 5 December 2021 (UTC)&lt;br /&gt;
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“Have you realized the facetiosity of it? He or she will be beyond all doubt a lecher.” Rain Village Merchant said with stern countenance: “ it is absolutely not the truth. It is a pity that you are insensible of the background of this person and senior Master Merchant may also mistakenly regarded him or her as a lewd demon”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:59, 5 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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若非多读书识事，加以致知格物之功、悟道参玄之力者，不能知也。”子兴见他说得这样重大，忙请教其故。雨村道：“天地生人，除大仁大恶，馀者皆无大异。&lt;br /&gt;
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If someone was not well-read, knowledge-inquiring and truth-enlightening, he or she would be ignorant of it. Son Prosperity believed that Rain Village Merchant took it so seriously that he was bursting with impatience to make clear the reasons within it. Rain Village Merchant asserted: “the universe gives birth to mankind that boasts no differences except the benevolent and the evil.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 00:36, 5 December 2021 (UTC)&lt;br /&gt;
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If someone was not well-read, knowledge-inquired and truth-enlightened, he or she would be ignorant.After seeing that Yucun took it so seriously, Zixing couldn't wait to ask him the reasons.Yucun asserted: “The universe gives birth to mankind that boasts no differences except the benevolent and the evil.&amp;quot;--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:24, 5 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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若大仁者则应运而生，大恶者则应劫而生；运生世治，劫生世危。尧、舜、禹、汤、文、武、周、召、孔、孟、董、韩、周、程、朱、张，皆应运而生者；&lt;br /&gt;
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The great benevolence was born in the time of good fortune,the great evil was born in the time of bad fortune. The former was benefit to the world,the latter was harmful to the world.Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, were all born at the historic moment of good fortune；--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 09:20, 5 December 2021 (UTC)&lt;br /&gt;
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If the great benevolence emerged as the times demanded, the great evil was born emerged as the calamity demanded. The former was beneficial to the world, while the latter was harmful to the world. Yao, Shun, Yu, Tang, Wen, Wu, Zhou, Zhao, Kong, Meng, Dong, Han, Zhou, Cheng, Zhu, Zhang, all born emerged as the times demanded.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:57, 5 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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蚩尤、共工、桀、纣、始皇、王莽、曹操、桓温、安禄山、秦桧等，皆应劫而生者。大仁者修治天下，大恶者扰乱天下。清明灵秀，天地之正气，仁者之所秉也；残忍乖僻，天地之邪气，恶者之所秉也。&lt;br /&gt;
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Chiyou, Gonggong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan, and Qin Hui all emerged as the calamity demanded. Great benevolence governs the world, great evil disturbs the world. Be sober-minded and full of ingenuity, absorbing the righteousness of heaven and earth are the characteristics of merciful men; on the contrary, be cruel and eccentric, absorbing the evil of heaven and earth, are the characteristics of wicked men.--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 12:41, 5 December 2021 (UTC)&lt;br /&gt;
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Chi You, Gong Gong, Jie, Zhou, Shi Huang, Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Hui were all born in response to the tribulation. Those who are benevolent cultivate and rule the world, while those who are evil disturb the world. The clear, bright, spiritual and beautiful, the righteousness of heaven and earth, is held by the benevolent; the cruel and perverse, the evil of heaven and earth, is held by the evil.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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今当祚永运隆之日，太平无为之世，清明灵秀之气所秉者，上自朝廷，下至草野，比比皆是。所馀之秀气漫无所归，遂为甘露，为和风，洽然溉及四海。&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, there are many people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 13:40, 4 December 2021 (UTC)&lt;br /&gt;
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In this day of eternal prosperity and peace and inaction, people from the imperial court to the grasses who have been blessed with a clear, bright and spiritual spirit are numberless. The remainder of the spirit has no place to return to, so it has become a sweet dew and a harmonious breeze, which has irrigated the four seas.--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:58, 12 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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彼残忍乖邪之气，不能荡溢于光天化日之下，遂凝结充塞于深沟大壑之中。偶因风荡，或被云摧，略有摇动感发之意，一丝半缕误而逸出者，值灵秀之气适过，正不容邪，邪复妒正，两不相下；&lt;br /&gt;
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His cruel and evil spirit could not overflow in broad daylight, so it condensed and filled deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace of half a wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, right should not be evil, evil should be jealous of right, and the two are not the same;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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Its cruel and evil spirit could not overflow in the light of the day, so it condensed and filled in deep ditches and gullies. Occasionally, due to the wind, or being destroyed by clouds, it feels slightly shaken, and a trace or half wisp of error escapes. It is worthy of the beautiful Qi. If it is suitable, the right is incompatible with the evil, and the evil should be jealous of the right, and the two are on the opposite sides.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:59, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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如风水雷电地中既遇，既不能消，又不能让，必致搏击掀发。既然发泄，那邪气亦必赋之于人。假使或男或女偶秉此气而生者，上则不能为仁人为君子，下亦不能为大凶大恶。&lt;br /&gt;
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Like the wind, water, thunder, lightning meeting each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once it lets off, people will be endowed with evil influence. If men and women were both born on this air by accident, they cannot be up to benevolent gentlemen or down to villains.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 12:59, 5 December 2021 (UTC)&lt;br /&gt;
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If wind, water, thunder, lightning meet each other on the ground, they can neither disappear nor yield, and must fight against and turn over each other. Once the evil air is let off, people will be endowed with it. If men or women are born with this air by accident, they cannot be up to benevolent gentlemen or down to extremely vicious villains.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:13, 6 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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置之千万人之中，其聪俊灵秀之气，则在千万人之上；其乖僻邪谬不近人情之态，又在千万人之下。若生于公侯富贵之家，则为情痴情种；若生于诗书清贫之族，则为逸士高人；纵然生于薄祚寒门，甚至为奇优，为名娼，亦断不至为走卒健仆，甘遭庸夫驱制。&lt;br /&gt;
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This kind of persons are usually outstanding. Their intelligence and beauty are above thousands of people. And their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be persons of constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be used by ordinary people.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:12, 6 December 2021 (UTC)&lt;br /&gt;
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This kind of people are usually prominent. Their intelligence and beauty are above millions of people. But their crankiness and indifference are below them. If they are born in a wealthy royal family, they will be people with constant love. If they are born in a poor family of intellectual, they will become hermits with extraordinary wisdom. Even though if they are unfortunately born in a humble family, men will be excellent actors and women will be famous prostitutes rather than being  servants who have to be controlled by ordinary people.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 04:15, 9 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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如前之许由、陶潜、阮籍、嵇康、刘伶、王谢二族、顾虎头、陈后主、唐明皇、宋徽宗、刘庭芝、温飞卿、米南宫、石曼卿、柳耆卿、秦少游，近日倪云林、唐伯虎、祝枝山，再如李龟年、黄幡绰、敬新磨、卓文君、红拂、薛涛、崔莺、朝云之流：此皆易地则同之人也。”&lt;br /&gt;
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Such as the previous generation Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun: they are the kind of people born when the rectitude and the evil spirits fight each other. This kind of people has both the rectitude and the evil spirits.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 11:37, 5 December 2021 (UTC)&lt;br /&gt;
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Like the previous generation: Xuyou, Taoqian, Ruanji, Jikang, Liuling, the Wang and Xie families, Gu Kaizhi, Chen Shubao, emperor Xuanzong of Tang Dynasty, emperor Huizong of Song Dynasty, Liu Tingzhi, Wen Feiqing, Mi Nangong, Shi Manqing, Liu Qiqing, Qin Shaoyou, and the current generation Ni Yunlin, Tang Bohu, Zhu Zhishan, or the generation like Li Guinian, Huang Fanchuo, Jing Xinmo, Zhuo Wenjun, Hongfu, Xuetao, Cuiying, Zhaoyun. Though this kind of people didn’t live in the same period of time, didn’t have the same experience, they had the same ambition.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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子兴道：“依你说，成则公侯败则贼了？”雨村道：“正是这意。你还不知，我自革职以来，这两年遍游各省，也曾遇见两个异样孩子，所以方才你一说这宝玉，我就猜着了八九也是这一派人物。&lt;br /&gt;
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Antiquary said: “ As you said, the winner will be the duke, and the loser will be the traitor?”Rainvillage Merchant said: “ This is what I was talking about. You didn’t know, that since I was removed from the position, I traveled around all the provinces, and also met some unusual boys, so when you just talked about Precious Jade, I guessed that he was such a boy, too.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 13:52, 5 December 2021 (UTC)&lt;br /&gt;
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Zixing said, &amp;quot;according to you, if you become a duke, if you lose, you will become a thief.&amp;quot; Yucun said, &amp;quot;that's exactly what you mean. You don't know that I have traveled all over the provinces in the past two years since I was dismissed. I have met two different children, so I guessed that 89 is also a figure of this school.&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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不用远说，只这金陵城内钦差金陵省体仁院总裁甄家，你可知道？”子兴道：“谁人不知，这甄府就是贾府老亲，他们两家来往极亲热的。就是我也和他家往来非止一日了。”&lt;br /&gt;
Needless to say, it's only Zhen Jia, President of Jinling Provincial Institute of physical benevolence, who is an imperial envoy in Jinling City. Do you know? &amp;quot; Zixing, &amp;quot;no one knows that Zhen's house is the old relative of Jia's house. Their two families are very friendly. Even I have been with him for a long time.&amp;quot;&lt;br /&gt;
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Do you know zhen Jia, president of Qinchai Tiren Academy of Jinling Province in Jinling City?&amp;quot; Zi Xing said, &amp;quot;Who knows? Zhen Fu is jia fu's old man, and the two families are very close to each other. Even I have been with them a long time.&amp;quot;--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 11:00, 12 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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雨村笑道：“去岁我在金陵，也曾有人荐我到甄府处馆。我进去看其光景，谁知他家那等荣贵，却是个富而好礼之家，倒是个难得之馆。但是这个学生虽是启蒙，却比一个举业的还劳神。&lt;br /&gt;
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Rain village Merchant smiled and said:”When I was in Nanjing last year, someone recommended me to teach in the House of Merchant. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the scientific examination.”--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 06:45, 8 December 2021 (UTC)&lt;br /&gt;
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Yu Cun smiled and said:”When I was in Jinling last year, someone recommended me to teach at Zhen Mansion. After I went there, I realized that his family is so prosperous and rich, but they also advocate etiquette, which is very rare. Although this student is a beginner, he is more serious than the examinee who wants to take the imperial examination.”--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:15, 12 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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说起来更可笑，他说：‘必得两个女儿陪着我读书，我方能认得字，心上也明白；不然，我心里自己糊涂。’又常对着跟他的小厮们说：‘这“女儿”两个字极尊贵极清净的，比那瑞兽珍禽、奇花异草更觉稀罕尊贵呢。&lt;br /&gt;
Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 11:18, 29 December 2021 (UTC)&lt;br /&gt;
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Even it is more ridiculous when he said: &amp;quot;I must have two daughters to accompany me to study, so that I can recognize words and understand them in my heart; Otherwise, I will be confused. &amp;quot; He often said to his pageboys: &amp;quot;the word&amp;quot; daughter &amp;quot;is very noble and pure, which is more rare and noble than the auspicious animals, rare birds and exotic flowers and plants.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:56, 13 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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你们这种浊口臭舌，万万不可唐突了这两个字，要紧，要紧！但凡要说的时节，必用净水香茶漱了口方可；设若失错，便要凿牙穿眼的。’其暴虐顽劣，种种异常。&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 02:55, 13 December 2021 (UTC)&lt;br /&gt;
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You have such a foul mouth and stinky tongue, you must not be abrupt these two words, important, important! But whenever you say something, you must rinse your mouth with clean water and fragrant tea; if you make a mistake, you will have to cut your teeth through your eyes.' The tyrannical and stubborn, all kinds of abnormalities.--[[User:Xiong Min|Xiong Min]] ([[User talk:Xiong Min|talk]]) 03:15, 13 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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只放了学进去，见了那些女儿们，其温厚和平，聪敏文雅，竟变了一个样子。因此，他令尊也曾下死笞楚过几次，竟不能改。每打的吃疼不过时，他便姐姐妹妹的乱叫起来。&lt;br /&gt;
After class, he saw those daughters, who were gentle, tranquil and clever looking different. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.&lt;br /&gt;
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After class, he went in and met those daughters changed, who were gentle, peaceful, intelligent and elegant. Therefore, his father was also beaten for several times. Everytime he was beaten to death, he screamed sisters' names.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 14:07, 12 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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后来听得里面女儿们拿他取笑：‘因何打急了，只管叫姐妹作什么？莫不叫姐妹们去讨情讨饶？你岂不愧些？’他回答的最妙，他说：‘急痛之时，只叫姐姐妹妹字样，或可解疼，也未可知，因叫了一声，果觉疼得好些。&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Why not let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, ‘In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them'.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 13:45, 5 December 2021 (UTC)&lt;br /&gt;
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Then he heard his daughters make fun of him: &amp;quot;Why do you call sisters when you are in pain? Do you want to let them beg for forgiveness? Aren't you ashamed?&amp;quot; He answered it best, saying, &amp;quot;In a time of acute pain, if I call the sisters, which may relieve the pain or not. However, I do felt the pain lessened a little when I called them&amp;quot;.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:34, 6 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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遂得了秘法，每疼痛之极，便连叫姐妹起来了。’你说可笑不可笑？为他祖母溺爱不明，每因孙辱师责子，我所以辞了馆出来的。这等子弟，必不能守祖、父基业，从师友规劝的。只可惜他家几个好姊妹都是少有的。”&lt;br /&gt;
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So he got the secret method, and every time he felt the pain, he called his sisters. &amp;quot; Do you also feel ridiculous? And his grandmother doted on him so deeply that I as his teacher was usually insulted and blamed. So I resigned from there. The children like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends. But it's a pity becasue several sisters in his family are rarely good. &amp;quot;--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 00:52, 6 December 2021 (UTC)&lt;br /&gt;
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And his grandmother doted on him so deeply that I was usually insulted and blamed as his teacher. Such child like him would not be able to keep the inheritance of their ancestors and follow the advice of their teachers and friends.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:54, 12 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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子兴道：“便是贾府中现在三个也不错。政老爷的长女名元春，因贤孝才德，选入宫作女史去了。二小姐乃是赦老爷姨娘所出，名迎春；三小姐政老爷庶出，名探春；四小姐乃宁府珍爷的胞妹，名惜春：&lt;br /&gt;
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Zixing said, &amp;quot;The three girls in Jia's mansion are not bad either. Master Merchant's eldest daughter was named First Spring Merchant. Because of her virtue and filial piety, she was chosen to be a female historian in the court. The second lady was born to Pardon Merchant'concubine, her name was Spring Pleasure Merchant; The third lady was born to Master Merchant's concubine and was named Seeking-Spring Merchant. The fourth lady is the sister of Treasure Merchant in Ning' mansion, named Cherishing Spring Merchant:&lt;br /&gt;
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“ The three girls in the Jia's mansion aren ’ t bad either ,” rejoined Zixing .“ Master Merchant ’s eldest daughter First Spring Merchant was chosen to be a Lady － Clerk in the palace of the heir apparent because of her goodness , filial piety and talents . The second , Spring Pleasure Merchant, is Pardon Merchant’s daughter by a concubine . The third Seeking-Spring Merchant , is Master Merchant ’ s daughter a concubine . The fourth , Cherishing Spring Merchant , is the younger sister of Treasure Merchant of the Ning Mansion .--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:43, 12 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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因史老夫人极爱孙女，都跟在祖母这边，一处读书，听得个个不错。”雨村道：“更妙在甄家风俗：女儿之名，亦皆从男子之名；不似别人家里，另外用这些‘春’、‘红’、‘香’、‘玉’等艳字。&lt;br /&gt;
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As Grandma History is so fondly attached to her granddaughters , they come , for the most part , over to their grandmother ’s place to prosecute their studies together , and each one of these girls is , I hear , without a fault .Rainvillage Merchant said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:37, 12 December 2021 (UTC)&lt;br /&gt;
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“As Grandma History is so attached to these grand-daughters that she makes them study in the Rong Mansion near her, and I hear good reports of them all.” Rainvillage Merchant said, “I prefer the Zhen family ’s way of giving their daughters the same sort of names as boys instead of choosing flowery names meaning Spring , Red , Fragrant or Jade .” --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 16:12, 12 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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何得贾府亦落此俗套？”子兴道：“不然。只因现今大小姐是正月初一所生，故名元春，馀者都从了‘春’字；上一排的却也是从弟兄而来的。现有对证：目今你贵东家林公的夫人，即荣府中赦、政二公的胞妹，在家时名字唤贾敏。&lt;br /&gt;
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But how is it that the Family Merchant have likewise fallen into this convention？&amp;quot;&lt;br /&gt;
&amp;quot;Not so！&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month，that she was called First Spring Merchant；And the rest followed Spring in their names. But the names of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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But how could that the Family Merchant have also become so vulgar in terms of the name of the daughters？&amp;quot;&lt;br /&gt;
&amp;quot;It’s not what you think&amp;quot; said Zixing. &amp;quot;It is simply because the eldest daughter was born on the first day of the first month in the lunar year, that she was called First Spring Merchant；And then the rest had Spring in their names too. But all the names of the girls of the last generation are adopted from those of their brothers；and there is at present an instance in support of this. The wife of your respected employer，Mr. Forest，is the sister of Mr.Pardon Merchant and Mr.Master Merchant，and while at home,she was named Clever Merchant.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:49, 11 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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不信时你回去细访可知。”雨村拍手笑道：“是极。我这女学生名叫黛玉，他读书凡‘敏’字，他皆念作‘密’字；写字遇着‘敏’字，亦减一二笔。我心中每每疑惑，今听你说，是为此无疑矣。&lt;br /&gt;
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If you don’t believe me, check up carefully when you go back. Rainvillage pounded the table with a laugh. That’s right. The name of my girl student is Mascara Jade. She always pronounces min as mi and misses one or two strokes when writing. That puzzled me every time. Now  I finally understand the reason behind it after hearing your words. --[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 03:30, 11 December 2021 (UTC)&lt;br /&gt;
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If you don’t believe me, inquire carefully when you go back. Rainvillage pounded the table and smiled :”That's right. The name of my girl student is Mascara Jade. She always pronounces ‘Min’ as ‘Mi’ and misses one or two strokes when writing. That puzzled me every time. Now I finally understand the reason behind it after hearing your words. “--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:39, 12 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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怪道我这女学生言语举止另是一样，不与凡女子相同，度其母不凡，故生此女。今知为荣府之外孙，又不足罕矣。可惜上月其母竟亡故了。”子兴叹道：“老姊妹三个，这是极小的，又没了；&lt;br /&gt;
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It's strange that my female student's speech and behavior are different. She is not the same as other ordinary ladies. Hence,I guess that her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not strange that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 02:30, 11 December 2021 (UTC)&lt;br /&gt;
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No wonder that my female student's speech and behavior are unique and she is not the same as other ordinary ladies. That's because her mother is extraordinary and so is she. Since I know that she is the granddaughter of the Mansion of Rongguo,it is not suprising that she is such a girl. Unfortunately, her mother died last month. Zixing sighed, &amp;quot;Among the three sisters, she is the youngest and she's also dead.&amp;quot;--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 10:43, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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长一辈的姊妹，一个也没了。只看这小一辈的将来的东床何如呢。”雨村道：“正是。方才说政公已有一个衔玉之子，又有长子所遗弱孙，这赦老竟无一个不成？”&lt;br /&gt;
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There are no elder sisters. Then we just look forward to the younger generation's son-in-laws. Jia Yucun says: That's it. I have just heard that Jia Zheng has a son, Prescious Jade Merchant who is born with a jade. And he has a grandson who is his eldest son's child. Doesn't Jia She have any children?--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 07:09, 6 December 2021 (UTC)&lt;br /&gt;
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“No one's left in the elder sisters, Let's just see what will happen to the younger generation's sons-in-law.” “Exactly.”Jia Yucun says:“I've just heard that Master Zheng's got a another son, and his eldest son had given him a grandson. What's the matter with Master Xie? He hasn't had one yet!”--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 02:40, 13 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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子兴道：“政公既有玉儿之后，其妾又生了一个，倒不知其好歹。只眼前现有二子一孙，却不知将来何如。若问那赦老爷，也有一子，名叫贾琏，今已二十多岁了，亲上做亲，娶的是政老爷夫人王氏内侄女，今已娶了四五年。&lt;br /&gt;
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Zi Xing says:“After Master Zheng had Yu er, his concubine gave birth to another child, don't know whether it is good or bad. Right now they already have two children and a grandson, but not knowing what should do in the future. Master Xie also has a son named Jia Lian, who is about 20 years old now. Jia Lian married Master Zheng's wife Wang's niece, it was an intermarry between their families, and it's been five years now.”&lt;br /&gt;
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Zi Xing said:&amp;quot; Master Merchant's concubine had given birth to another kid for him after having the son named Precious Jade, and didn't know the kid good or bad. So he only had two sons and a grandson at that time and didn't know the future held. Pardon Merchant also had a son named Romance Merchant, who was about 20 years old. Romance Merchant married Master Merchant's wife Lady King's niece, it was an intermarry between their families, and it's been five years now.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:35, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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这位琏爷身上现捐了个同知，也是不喜正务的；于世路上好机变，言谈去得，所以目今只在乃叔政老爷家住，帮着料理家务。谁知自娶了这位奶奶之后，倒上下无人不称颂他的夫人，琏爷倒退了一舍之地：模样又极标致，言谈又爽利，心机又极深细，竟是个男人万不及一的。”&lt;br /&gt;
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Romance Merchant had now paid for an official, but he was also uncomfortable with formal affairs; he was so clever and well-spoken in his career that he was currently living in the house of Master Merchant, Romance Merchant's uncle, and helping with the household chores. There is no idea that since marrying this difficult girl, no one in the house would not praise his wife, and that Romance Merchant would not be able to match her: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 06:11, 12 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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Romance Merchant had now bought a title as an official, but he was also uncomfortable with formal affairs. He was so clever and well-spoken in his career that he was currently living in the house of Maister Merchant, Romance Merchant's uncle, and helping with the household chores.  After he married his wife, everyone praised her, and that made Romance Merchant less popular: she is so good-looking, so sharp-tongued, and so deep-witted that she is a man's equal.&amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 10:49, 12 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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雨村听了，笑道：“可知我言不谬了。你我方才所说的这几个人，只怕都是那正邪两赋而来一路之人，未可知也。”子兴道：“正也罢，邪也罢，只顾算别人家的账，你也吃杯酒才好。”&lt;br /&gt;
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After hearing this, Yucun smiled and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have the temperament of justice and evil.” Zixing said: “whether these people are just or evil, don't just talk about other people's gossip, and also remember to drink more.” --[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 08:36, 6 December 2021 (UTC)&lt;br /&gt;
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After hearing this, Yucun laughed and said, “now you know what I said is true. I’m afraid these people we just talked about are probably those who have both good and evil temperament.” Zixing said: “It doesn't matter whether these people are good or evil, you should also take a drink rather than only talking about other people's gossip.”--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:12, 12 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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雨村道：“只顾说话，就多吃了几杯。”子兴笑道：“说着别人家的闲话，正好下酒，即多吃几杯何妨？”雨村向窗外看道：“天也晚了，仔细关了城，我们慢慢进城再谈，未为不可。”&lt;br /&gt;
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Yucun said: &amp;quot;I have to drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Help yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It's getting dark. We'd better continue our talk after entering the city in case the gate is shut.&amp;quot; --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 09:28, 12 December 2021 (UTC)&lt;br /&gt;
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Rainvillage Merchant said: &amp;quot;I accidentally drink a few more cups of alcohol because I kept talking all the time&amp;quot;. Zixing said while laughing: &amp;quot; Enjoy yourself! Gossip goes well with alcohol&amp;quot;. Yucun looked out the window and said:&amp;quot; It has been dark. We'd better continue our talk after entering the city in case the gate shuts.&amp;quot;--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 09:39, 12 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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于是二人起身，算还酒钱。方欲走时，忽听得后面有人叫道：“雨村兄恭喜了！特来报个喜信的。”雨村忙回头看时……要知是谁，且听下回分解。&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Rainvillage Merchant. Someone brings a lucky message to you.&amp;quot; Rainvillage Merchant looks back at once... Who is it? Please expect the next chapter--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 05:03, 5 December 2021 (UTC).&lt;br /&gt;
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So they got up and paid for the wine. When they was leaving, he heard someone calling behind: &amp;quot;Congratulations! My friend Yucun. Someone brings a lucky message to you.&amp;quot; Yucun looked back at once... Who was it? Please expect the next chapter.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:19, 12 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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外班──清代会试考取进士后，留在朝中任官者称“京官”，分发外地任地方官者称“外班”。因新官分发到地方后要候补，按班次任官，故称“外班”。​同寅皆侧目而视──同寅：即同僚。&lt;br /&gt;
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&amp;quot;Wai Ban&amp;quot;(Foreign class) -- After passing the highest imperial examinations in Qing Dynasty, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, while those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officers who were distributed to the local needed wait for the appointment, according to the official appointment system established in Qing Dynasty.so it was called &amp;quot;outside the shift&amp;quot;. Yin(colleagues)all sidelong glance ── with Yin: namely colleague.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 14:17, 12 December 2021 (UTC)&lt;br /&gt;
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Foreign class -- After the qing dynasty imperial examinations, those who stayed in the court as officials were called &amp;quot;jingguan&amp;quot;, and those who were dispatched to other places as local officials were called &amp;quot;foreign class&amp;quot;. Because the new officer distribution to the local to wait for the officer, according to the shift, so called &amp;quot;outside the shift&amp;quot;. With Yin all sidelong eyes and look ── with Yin: namely colleague.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:56, 12 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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典出《尚书·虞书·皋陶谟》：“百僚师师，百工惟时……同寅协恭，和衷哉。”寅时是朝臣上朝之时，故称。 侧目而视：斜着眼看。语出《战国策·秦策一》：“(苏秦)将说楚王，路过洛阳。&lt;br /&gt;
Code out of &amp;quot;Shang Shu · Yu Shu · Gao Tao Mo&amp;quot; : &amp;quot;100 liao division division, 100 work but time...... Cooperate with Yin and be respectful and sincere.&amp;quot; Yin shi is the court when the court, so called. Sidelong: to look sideways. Su Qin will say that the king of Chu is passing by Luoyang.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:12, 5 December 2021 (UTC)&lt;br /&gt;
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The code is out of ''Shang Shu · Yu Shu · Gao Tao Mo'' : Numerous bureaucrats and teachers work only a hundred hours...... Cooperate with Yin and be respectful and sincere.&amp;quot; The Yin time is the court when raised, so it's called. Sidelook: to look sideways. From ''Warring States policy · Qin policy I'':&amp;quot; Su Qin will say that the king of Chu is passing by Luoyang.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:57, 6 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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父母闻之，清宫除道，张乐设饮，郊迎三十里；妻侧目而视，倾耳而听；嫂蛇行匍伏，四拜自跪而谢。”原表示敬畏。引申以表示愤怒或不齿。​&lt;br /&gt;
When his parents heard of it, they cleared the palace and cleaned the road. Zhang Le set up a repast and welcomed thirty miles away far from home. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 06:53, 6 December 2021 (UTC)&lt;br /&gt;
When his parents heard of this, they cleared the palace and Zhang Le set up music and drinks to welcome him to the countryside for thirty miles. His wife looked sideways and listened attentively, and his sister-in-law crawled on her knees for thanks.&amp;quot; Originally it expressed awe. Extended to express anger or disdain.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:30, 10 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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维扬──扬州(在今江苏省)的别称。大禹所划分的“九州”之一。典出《尚书·夏书·禹贡》：“淮海惟扬州。”“惟”通“维”。&lt;br /&gt;
Wei Yang - an alternative name for Yangzhou (Jiangsu province). It was one of the &amp;quot;nine states&amp;quot; delineated by the Great Yu. The name is derived from ''Shang Shu - Xia Shu - Yu Gong'': &amp;quot;The Huaihai Sea is only Yangzhou.&amp;quot; The word &amp;quot;but&amp;quot; is synonymous with &amp;quot;wei&amp;quot;.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 04:27, 10 December 2021 (UTC)&lt;br /&gt;
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Dimension Poplar - another name of Yangzhou (in today's Jiangsu Province) which is one of the &amp;quot;Kyushu&amp;quot; divided by Dayu. From the book Shangshu· Xiashu · Yugong  &amp;quot;the Huaihai sea Wei Yangzhou” &amp;quot;Wei&amp;quot; is &amp;quot;wei”--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 06:08, 9 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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后人从“惟扬州”截取“惟扬”，又以“维”代“惟”，遂成“维扬”。如北朝周·庾信《哀江南赋》：“淮海维扬，三千馀里。”​探花──科举考试中殿试(最高一级考试)一甲第三名(第一名为状元，第二名为榜眼)。&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Fu on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Huaihai sea is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan）--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 09:04, 4 December 2021 (UTC)&lt;br /&gt;
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Later generations intercepted &amp;quot;Weiyang&amp;quot; from &amp;quot;weiyangzhou&amp;quot; and replaced &amp;quot;Weiyang&amp;quot; with &amp;quot;Wei&amp;quot;, so it became &amp;quot;Weiyang&amp;quot;. For example, Yuxin's Poetic essay on mourning the south of the Yangtze River in the Northern Dynasty said, &amp;quot;the Weiyang city is vast, more than 3000 miles.&amp;quot; Tanhua—the third place in the first grade of the palace examination (the highest level examination) (the first place is called Zhuangyuan and the second place is called Bangyan)--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:15, 5 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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本于唐代的“探花使”，亦称“探花郎”。唐·李淖《秦中岁时记》：“进士杏园初宴，谓之探花宴。差少俊二人为探花使，遍游名园，若它人先折花，二使皆被罚。”&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 09:06, 5 December 2021 (UTC)&lt;br /&gt;
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“Tan Huashi” in Tang Dynasty is also called “Tan Hualang”. Li Nao who lived in Tang Dynasty once wrote: “ The newly crowned scholars met in the Apricot Garden to feast with their peers who had been crowned in the same year. This banquet was known as the Flower Search Banquet. Two young and good-looking candidates were chosen to be the flower scouts, and they were asked to visit all the famous gardens and scout for flowers. If someone else took the flowers first, the two flower scouts would be punished with a drink.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:09, 8 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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又宋·魏泰《东轩笔录》卷六：“进士及第后，例期集一月……又选最年少者二人为探花使，赋诗，世谓之探花郎。”​&lt;br /&gt;
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Wei Tai in Song Dynasty wrote that in his Dongxuan Bilu (Volume Six): “ In the imperial examination, after winning the imperial examination…… Two young scholars at the celebration were elected as Tanhua. And people named them Tanhua  boy .”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:19, 5 December 2021 (UTC)&lt;br /&gt;
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Wei Tai wrote in his ''Dongxuan Transcript'' (Volume Six) in Song Dynasty : “Participated in and passed the highest imperial examinations ... then the first two youngest scholars at the examination were chosen as Tanhua. And people named them Tanhua boy.”--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:55, 6 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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兰台寺大夫──指专管弹劾的御史。兰台是汉朝宫内藏书之所，由御史大夫主管，故后世将御史台别称“兰台”，将御史府别称“兰台寺”，将御史别称“兰台寺大夫”。​&lt;br /&gt;
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Censor of LanTai  - refers to imperial historian who is in charge of impeachment. LanTai  was the  place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. The institution where the imperial historian was later called “LanTai”,  the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 13:41, 6 December 2021 (UTC)&lt;br /&gt;
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Censor of LanTai - refers to imperial historian who is in charge of impeachment. LanTai was the place where the books were stored in the Palace of the Han Dynasty, and was in charge of the imperial historian. Accordimgly, the institution where the imperial historian was later called “LanTai” the palace where the imperial historian lived was called “ LanTai Temple”, and the imperial historian was called “censor of LanTai” by later generations.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 06:46, 8 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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列侯──古代爵名。在秦称“彻侯”，为二十四级爵位中的最高一级。至汉代为避汉武帝刘彻之讳，改为“通侯”。“通”与“彻”同义，是改名不改义。“通侯”之意是表示受爵者功勋通于王室。&lt;br /&gt;
Marquis - Ancient Baron name. In Qin Dynasty, it was called &amp;quot;chehou&amp;quot;, which was the highest among twenty-four levels. In the Han Dynasty, in order to avoid the taboo of Liu Che, Emperor of the Han Dynasty, it was changed to &amp;quot;tonghou&amp;quot;. &amp;quot;Tong&amp;quot; is synonymous with &amp;quot;Che&amp;quot; in Chinese, in this way changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the recipient has done meritorious services to the royal family.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 09:17, 4 December 2021 (UTC)&lt;br /&gt;
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Marquis──Ancient noble name. In Qin Dynasty, it was called &amp;quot;Che Hou&amp;quot;, and it was the highest rank among the twenty-four ranks. In the Han Dynasty, it was changed to &amp;quot;Tonghou&amp;quot; to avoid the taboo of Han Wudi Liu Che. &amp;quot;Tong&amp;quot; and &amp;quot;Che&amp;quot; are synonymous, which means changing the name without changing the meaning. &amp;quot;Tong Hou&amp;quot; means that the meritorious deeds of the nobility are passed to the royal family.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:25, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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后又改为“列侯”，表示序列之意。见《汉书·高帝纪下》颜师古注。清代并无此爵，只是借指侯爵。清代爵位分公、侯、伯、子、男，侯爵为第二等。&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;The Book of Han·Gao Di Jixia&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquis. In the Qing Dynasty, the titles were divided into Gong, Marquis, Bo, Zi, and Male, and Marquis was the second class.&lt;br /&gt;
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Later it was changed to &amp;quot;Liehou&amp;quot;, which means sequence. See Yan Shigu's Note in &amp;quot;Book of Han• Han Gaozu ( the first emperor of Han dynasty)&amp;quot;. There was no such nobility in the Qing Dynasty, but a reference to the marquess. In the Qing Dynasty, the titles were divided into Duck,Marquess, Earl, Viscount, Baron and Marquess was the second class.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 16:03, 11 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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膝下荒凉──意谓子女稀少，尤无儿子。 膝下：这里指子女。因幼儿多倚偎于父母膝旁，故称。《孝经·圣治》：“故亲生之膝下，以养父母日严。”唐玄宗注：“亲犹爱也，膝下谓孩童之时也。”&lt;br /&gt;
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Desolate at the knees means that there are few children, especially no sons. Under the Knee: it means children. The reason why children are called knee is that children often nestle to their parents' knees.''The Classic of Filial Piety·Shengzhi'' says &amp;quot;the feeling of affection grows up at parents’ knees. As children grow up, they become more and more respectful of their parents.&amp;quot; Emperor Xuanzong of Tang Dynasty noted: &amp;quot;Be close to your parents and love them. Under the knees is the time of a child.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:48, 8 December 2021 (UTC)&lt;br /&gt;
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Desolate below the knee means that there are few children, especially no sons. Knee: it refers to children. The reason why children are called knee is that children mostly lean on their parents' knees. &amp;quot;The Book of Filial Piety·Shengzhi&amp;quot;: &amp;quot;Therefore, the days of adoptive parents are strict under the knees of one's own birth.&amp;quot; Tang Xuanzong's note: &amp;quot;You are still in love with you, and under your knees is the time of a child.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 13:29, 6 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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荒凉：形容因子女稀少而家庭显得清冷凄凉。西席──古人座次以右(西)为尊，故右席为宾客和塾师之位，坐西面东，故称幕宾和塾师为“西席”或“西宾”。&lt;br /&gt;
Desolate: It can be used to describe such a situation: a family becomes desolate because of the small number of children. West Seat ─ ─  the right seat was preferred by the ancients, therefore the right seat belonged to the guests and tutors. Besides, because they sit in the derection of west and face the direcyion of east, so the guests and tutors were called &amp;quot;west seats&amp;quot; or &amp;quot;west guests&amp;quot;.&lt;br /&gt;
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Desolation: it describes the desolation of the family due to the scarcity of children. West Seat -- the ancients took the right (West) seat as the priority, so the right seat was the seat for guests and school teachers.and because they sit in the derection of west and face the direcyion of east.Therefore, it was called &amp;quot;west seats&amp;quot; or &amp;quot;West guests&amp;quot; for the guests and tutors.--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 02:19, 7 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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清·梁章钜《称谓录》卷八：“汉明帝尊桓荣以师礼，上幸太常府，令荣坐东面(坐西面东)，设几。故师曰西席。”这里指家庭教师。“身后”一联──身后有馀：是说馀年还很长(“身后”不可解作死后)。&lt;br /&gt;
Liang Zhangju, Qing Dynasty, wrote in Volume VIII of 《Appellation records》: &amp;quot;Emperor  Mingdi After respected Huan Rong and treated him with teacher courtesy. He once visited Taichang mansion in person, asked Huan Rong to sit in the East, set a table and a walking stick。Therefore, master said it was a seat in the West.&amp;quot; Here refers to a tutor.A couplet of &amp;quot;behind you&amp;quot; - there is surplus behind you: it means that the remaining years are still very long (&amp;quot;behind you&amp;quot; cannot be interpreted as after death).--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 14:23, 4 December 2021 (UTC)&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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忘缩手：是说不肯收手，还要争名夺利。 &lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无路：走投无路。此联是说世人大多只顾眼前，不顾将来，等到走投无路，后悔无及。​&lt;br /&gt;
No way: desperate. This association means that most people in the world only care about the present, regardless of the future, and wait until they are desperate and regret it. ​&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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刹──梵语音译省称，意译为佛塔的柱形尖顶，故又称“佛柱”。&lt;br /&gt;
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Sha-Sanskrit transliteration provincial name, free translation is the columnar spire of the stupa, so it is also called &amp;quot;Buddha column&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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引申为佛寺。贾复──东汉南阳冠军(今河南邓州市西北)人，累官至左将军，并封胶东侯。&lt;br /&gt;
Extended to Buddhist temple. HiJia Fu——A native of Nanyang Champion of the Eastern Han Dynasty (now northwest of Dengzhou City, Henan Province),he was tired from general to the left and sealed Donghou in Jiao.&lt;br /&gt;
--[[User:Muhammad Numan|Muhammad Numan]] ([[User talk:Muhammad Numan|talk]]) 15:54, 5 December 2021 (UTC)&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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《后汉书》有传。姓贾的成千上万，贾雨村却只拉千年前的贾复为一家，足见其拉大旗作虎皮之势利小人肺肝。​There is a biography in the Book of the Later Han Dynasty. There are thousands of people surnamed Jia, but Jia Yucun only manages Jia Fu from a thousand years ago. This shows that the Qiraji banner is a tiger skin.​&lt;br /&gt;
--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 14:18, 6 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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百足之虫，死而不僵——典出三国魏·曹冏《六代论》：&lt;br /&gt;
A hundred-footed worm does not die - an allusion to Cao Jon's &amp;quot;Six Dynasties&amp;quot; in the Three Kingdoms.&lt;br /&gt;
Note:百足之虫，至死不僵，读作 bǎi zú zhī chóng，zhì sǐ bù jiāng 。 It is used as a metaphor for a group or individual with strong power that will not easily collapse for a while. 百足：The name of a worm with a twenty-sectioned torso that can still wriggle after being severed.&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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“故语曰：‘百足之虫，死而不僵。’扶之者众也。”&lt;br /&gt;
The old saying goes:'Hundred-legged worms die but are not stiff.' There are many who support them.&amp;quot;&lt;br /&gt;
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[[File:Example.jpg]]==Zohaib Chand 202121080005==&lt;br /&gt;
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比喻世家大族虽然衰败，因家底雄厚，依傍众多，表面上仍能维持繁荣景象。&lt;br /&gt;
It is a metaphor that despite the decline of the aristocratic family, because of the strong family background and numerous support, it can still maintain its prosperity on the surface.&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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百足：虫名，即马陆。长约一寸，躯干由多节构成，每节有足一对或二对，切断后仍能蠕动。&lt;br /&gt;
English: Centipede, Insect name, arthropods. Length, around an inch, Body is composed of multiple sections, each section has one or two pairs of feet, after cutting still can squirm.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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僵：倒下。​安富尊荣──语出《孟子·尽心上》：&lt;br /&gt;
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Stiff: fall down. ​Safety, wealth and honour──From the words &amp;quot;Mencius·All Your Heart&amp;quot;:&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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“君子居是国也，其君用之，则安富尊荣。”&lt;br /&gt;
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A gentleman can make people transform their morals, change their customs, Safeguard the country and protect its honor. --[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:55, 5 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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原意是君子因辅佐国君功勋卓著而享受荣华富贵。&lt;br /&gt;
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Agree to be a gentleman，because of the outstanding merits of supporting the monarch and enjoying the glory and wealth.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 13:58, 5 December 2021 (UTC)&lt;br /&gt;
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The original meaning was that gentlemen who made outstanding contributions to assist the monarch enjoyed glory and wealth. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:06, 5 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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这里反用其意，意谓不劳而获，安享荣华富贵。​&lt;br /&gt;
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The meaning is the opposite here, that for nothing one can enjoy prosperity and wealth.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 20:02, 5 December 2021 (UTC)&lt;br /&gt;
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The meaning is reversed here, which means to enjoy prosperity and wealth for nothing. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:22, 7 December 2021 (UTC) ​&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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钟鸣鼎食——语出唐·王勃《滕王阁序》：“闾阎扑地，钟鸣鼎食之家。”&lt;br /&gt;
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Zhongming Ding Shi-Quoting Tang Wang Bo's &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan, the home of Zhong Ming Ding Shi.&amp;quot; --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:24, 7 December 2021 (UTC)&lt;br /&gt;
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Zhongming Ding Shi-Speech by Tang Wang Bo &amp;quot;Preface to the Pavilion of the King of Teng&amp;quot;: &amp;quot;Lu Yan rushes to the ground, the home of Zhongming Ding Shi.&amp;quot; -Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 7 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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古代贵族鸣钟列鼎而食。这里借以形容富贵豪华。&lt;br /&gt;
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The nobles in ancient times sang bells and set out to eat. Here it is used to describe the wealth and luxury.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)Ei Mon Kyaw--------Ei Mon Kyaw-[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:56, 7 December 2021 (UTC)&lt;br /&gt;
The ancient nobles rang the bells and set out to eat. To describe wealth and luxury. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 07:09, 8 December 2021 (UTC)&lt;br /&gt;
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The ancient nobility enjoy their meal with tripod as cookware and the bell set as background music, which indicates occupying high positions and great wealth.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 14:33, 12 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134379</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134379"/>
		<updated>2021-12-27T05:53:21Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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The heart is one more hole than Bigan. Bigan, the uncle of tyrant Shang King Zhou, is known as a saint. According to Historical Records: Yin Dynasty, King Zhou dislikes the advisement of Bigan, so said with anger,&amp;quot;I heard that a saint has seven hole in his heart.&amp;quot; Thus, Bigan was anatomized to observe his heart.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 11:44, 26 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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The ancients thought that the more the mind, the smarter it was, so they described Daiyu as extremely clever. ​&lt;br /&gt;
Illness like Xi Zi wins three points - Xi Zi: Xi Shi. Zhuangzi Tianyun said: &amp;quot;Xi Shi frowns (frowns) when she is ill&amp;quot;, which increases her beauty.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:01, 26 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
Therefore, Dai Yu is described as weak and beautiful by &amp;quot;sick as Xizi wins three points&amp;quot;. Next, Jia Baoyu wrote &amp;quot;Pingping&amp;quot; for Lin Daiyu. He also used the code of Xi shi’s frown, but he didn't dare to say it clearly, so he made up a set of lies and invented the title of the general examination of ancient and modern characters. ​--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 12:00, 26 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
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Xing (pronounced xǐng) – canonical originated from ''The Book of Rites • Qu Li'': &amp;quot;The etiquette of being sons is: make his parents feel warm in winter, cool in the summer, serve them to bed at night, and greet them in the morning. [Jing  (pronounced jìng)]--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 11:27, 26 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
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第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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Although Bead Merchant had died at an early age, he had the good fortune of leaving behind him a son, to whom the name of Cymbidium Merchant was given. He was, at this period, just in his fifth year, and had already entered school, and applied himself to books. This Silk Plum was also the daughter of an official of note in Gold Mausoleum. Her father's name was Midfielder Plum, who had, at one time, been Imperial Libationer. Among his kindred, men as well as women had all devoted themselves to poetry and letters. --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 07:24, 25 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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But this kidnapper stealthily sold her over again to the Hsueeh family. When we came to know of this, we went in search of the seller to lay hold of him, and bring back the girl by force. But the Hsueeh party has been all along the bully of Chin Ling, full of confidence in his wealth and prestige; and his arrogant menials in a body seized our master and beat him to death.The murderous master and his crew have all long ago made good their escape, leaving no trace behind them, while there only remain several parties not concerned in the affair. --[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 13:37, 25 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 01:45, 26 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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He sent a signature to send the official and immediately tortured the family members of the murderer. Seeing a boy page of the court standing by the case, who didn't ask Yucun to sign. Yucun was suspicious and had to stop to do it.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:17, 26 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
He retreated to the secret room and ordered everyone to leave the door man alone. The door man is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 11:20, 26 December 2021 (UTC)&lt;br /&gt;
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He retreated to the secret room and ordered everyone to leave except for the door man Menzi. Menzi is busy forward to ask for his respect, smile to ask: &amp;quot;the master has been adding officials into the salary, eight or nine years, forget me?&amp;quot;--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:27, 27 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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Yucun said, “You look so familiar, but I can’t remember you at once.” Menzi laughed, “How could you forget your birthplace, my Master? Do you forget what happened in the Gourd Temple?” After listening, Yucun felt surprised, and the remembered the past.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 01:22, 27 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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The fact is that this Retainer had been a young monk in the Hu Lu temple, but because of its destruction by fire, he had no place to rest his frame, he remembered how light and easy was, after all, this kind of occupation, and being unable to reconcile himself to the solitude and quiet of a temple, he accordingly availed himself of his years, which were as yet few, to let his hair grow, and become a retainer. Yue-ts'un had had no idea that it was him. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:03, 26 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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Hastily taking his hand, he smilingly said, &amp;quot;You are, indeed, an old acquaintance!&amp;quot; and then pressed him to take a seat, so as to have a chat with more ease, but the Retainer would not presume to sit down. &amp;quot;Friendships,&amp;quot; Yue-ts'un remarked, putting on a smiling expression, &amp;quot;contracted in poor circumstances should not be forgotten! This is a private room, so that if you sat down, what would it matter?&amp;quot; The Retainer thereupon craved permission to take a seat and sat down gingerly.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 11:04, 26 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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Chia Yu-tsun asked, &amp;quot;Why did you not grant me the passport just now?&amp;quot; The doorman answered that &amp;quot;Your Excellency, when you are to assume office here, haven't you hold some relations to a guard officer? &amp;quot; Yu-tsun was confused and thus continued, &amp;quot;guard officer?&amp;quot;.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:30, 25 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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“So it was called “the amulet of protection from the feudal official. The family Xue we talked just now, we can’t offend them, my lord. His lawsuit had no difficulty, however, the former official had trouble in the relationship, thus causing the situation then.”.  --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 09:46, 25 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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The man who was killed was the son of a small township official, named Feng Yuan. His parents died and had no brothers. He lived on a low income. He is eighteen or nine years old. He loves men and is not good at women. This is also an injustice in his previous life. But when he happened to meet this girl, he took a fancy to it and decided to buy it as a concubine. He swore that he would not be close to a man and would not marry a second one.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 05:38, 27 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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When Yinglian was a little girl, we played with her every day and were very familiar with each other. Her appearance didn’t change a lot after seven or eight years though she has grown prettier than before, so we still remembered her; besides, her eyebrows came to a little carmine point (the size of a grain of rice) in the middle, which was the birthmark.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 05:53, 27 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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The kidnapper just happened to rent the houses from me. One day, when he was not at home, I asked her about such a thing. She told me that she was afraid to say anything after being beaten so much; she only insisted that he was her father who sold her to pay off his debts. When I tried repeatedly to coax it out of her, she burst into tears and said that 'I do not remember what happened in my childhood.'--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:29, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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There is not doubt that the girl who was carried off by the kidnapper is Yinglian all right. The day when Feng Yuan met her and paid down his silver, the kidnapper had got drunk. And then, Yinglian sighed, 'I am overwhelmed by my sins today!' However, her gloom started deepening again, when she heard that Feng Yuan would not be coming and picking her up for three days.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 08:14, 25 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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It should be the love of dream, only to be an ill-fated couple. Don’t talk about others for the moment. It’s crucial that this case be judged properly.” The servant said with a smile, “ how decisive you were in those days. Why are you so irresolute at the present ?”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:31, 25 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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“What lord said is reasonable, but it is unfeasible in the current world. Have you not heard what the ancients said:’ A real man can take action according to the specific situation’, and ‘The one who can avoid calamity and bring on good fortune is a gentleman.’ According to lord’s words, you not only can’t serve the court, but also can’t protect yourself. You’d better think it over. ‘ --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 15:40, 25 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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The lord requested to set out the altar in order to invite immortals to come, and let the military and people to come to see. The lord then said that after coscinomancy finished, the dead Feng Yuan and Xue Pan should have come to an end because they used to be long-standing and are bound to meet head-on on a narrow road.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 14:46, 26 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
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The lord thought carefully, and asked how about this plan? Yucun laughed and said: “ It’s not the right way, it’s not the right way. Let me think the matter over, the plan should be convinced by all the others.” Then they confirmed the plan. At tomorrow’s  court session, convening all criminals, whose name was known, Yucun questioned them seriously. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:31, 25 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
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The Feng family got a lot of buried silver and had nothing to say. Rain village will quickly repair two letters and Jia Zheng and Jingying jie make Prince Teng, but said &amp;quot;nephew has finished, do not have to worry about&amp;quot; words to send.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 10:25, 26 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
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It was all done by a novice monk Xinmenzi in Gourd Temple. Yucun was afraid that he would tell people about the awful current affairs of that day, so he was very unsatisfied. Later, Yucan pick holes in him , and banished him far away. Now, there was no one talking about bad things about Yucun.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 14:05, 25 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. The Mr. Xue so-called Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, but he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.&lt;br /&gt;
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In addition, there are countless money in the family, and now people are taking the domestic money and food to purchase stuffs. Mr.Xue, whose name is Xue Pan, is entitled as Wenqi with extravagant temperament and arrogant speech. Although he has also gone to school, he knows a few words, he only like fighting cock walking around the mountains and enjoying the scenery all day long.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 11:21, 26 December 2021 (UTC)&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his grandfathers and fathers, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:43, 26 December 2021 (UTC)&lt;br /&gt;
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Although he was a royal merchant, he knew nothing about economics. However, due to the old affection of his ancestors and his father, he was given a virtual position in Board of Revenue to received money and grain, and the rest of affairs were handled by his clerks and old family members.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 11:08, 26 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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Wang, the widowed mother, is the sister of Wang Ziteng, the current governor of Jingying Festival and the sister of Wang, the wife of Jia Zheng in the Rongguo mansion. This year, she is about 50, and has only a son Xue Pan. Besides, she has a daughter, whose milk name is Bao Chai, two years younger than Xue Pan. Bao Chai has beautiful body and behave elegantly .&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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His father had been so fond of her that he had sent her to read ten times better than her brother. Seeing that her brother could not pacify her mother after her father's death, she stopped thinking about reading and only cared about needle-work and family livelihood in order to share her mother's cares and duties.&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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Ever since the death of Xue Pan's father， all the assistants， managers and partners， and other employees in the respective provinces， perceiving how youthful and inexperienced Xue Pan was in years， readily availed themselves of the time to begin swindling and defrauding. As a result, The business， carried on in various different places in the capital，gradually also began to fall off and to show a deficit.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 08:33, 26 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
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Dragon Marshgrass entrusted the household affairs to the clan middleman and old family members. Then he just went away with his mother and sister. He should deem the affair of murder as a trifling matter and believed it could be easily solved through money.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 12:31, 26 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？”&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few premises in the capital, no one has lived there for ten years, the guards may sneakily rent to people to live, we must first ask someone to clean and tidy up.&amp;quot; His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 09:23, 25 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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So he discussed with his mother, &amp;quot;Although we have a few houses in the capital, no one has lived there for ten years. The guards may sneakily rent the house to other people, so we must first send someone to tidy up the house. His mother said, &amp;quot;Why do you have to be so flashy? &amp;quot;--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:50, 25 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
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Now we go to the capital Beijing,  and we should visit our relatives first. Your uncle‘s or your aunt‘s husband’s house are good choices, and their houses are very spacious. Let's stay there for a while and then send someone to clean up the house，and it will be more inconspicuous.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 13:38, 25 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
&lt;br /&gt;
薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
&lt;br /&gt;
==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted, she was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 10:02, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Seeing that her brother was promoted,  Dragon Marshgrass was worried about the lack of relatives in her mother's family, and felt a little lonely. A few days later, suddenly her family reported: &amp;quot;concubine brought her brothers and sisters to Beijing and got off outside the door.&amp;quot;--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:38, 26 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
&lt;br /&gt;
喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
&lt;br /&gt;
Lady King was so happy that she brought someone to the hall and took Aunt Marshgrass in. The sisters were joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 14:35, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mr. Wang was so happy that she brought someone to the hall and took Aunt Xue in. The sisters were  in joy tempered with sorrow to see each other that it goes without saying. Told a story of great deeds, and led to visit Grandma Merchant, all kinds of reward will be offered, together with the furniture saw, and treat the seat to receive wind.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:07, 26 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
&lt;br /&gt;
Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he is living outside, I am afraid that something will happen again.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:10, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Xue Pan met Jia Zheng and Jia Lian and introduced Jia She and Jia Zhen. Jia Zheng sent someone in and said to Mrs. Wang, &amp;quot;my aunt is old, and my nephew is young. He doesn't know about general affairs. If he lives outside, I am afraid that he will make some trouble.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 13:01, 25 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
“We have a room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please invite the aunt to stay here, the relationship between us will be closer.”--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:58, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“We have dozens of room in the southeast corner of the Li Xiang courtyard that is vacant, and ask someone to invite the aunt and sister and brother to live here.” Mrs. Wang originally wanted to stay. Mrs. Jia also sent someone to say: “Please stay here, the relationship between us will be closer.”--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 02:51, 26 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
&lt;br /&gt;
Aunt Xue wanted to live here so that she could supervise her son. If she lived elsewhere, she feared that her son would get into trouble again. So he agreed. She said to Mrs. Wang privately, &amp;quot;The Xue family will pay for all the supplies in the Jia mansion by themselves. This is the only way to get along with them for a long time.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
Staying together and drinking wine today, appreciating flowers tomorrow, and even gambling and prostitution, everything will be done. Xue Pan, who is seduced, is ten times worse than that day. Although Jia Zhengxun is good at governing family, on the one hand,there are so many people in the family that he can not look after everyone; On the other hand, the house chief is Jia Zhen, and he is the eldest grandson of the Ning Mansion, now everything is in charge of him.&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
&lt;br /&gt;
Zhizhi County Jia Yucun was confused and convicted the case of Xue Panqiang buying Zhen Yinglian and killing people based on the idea that he is now Yamenzi but was originally a young novice monk in the Gourd Temple.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
&lt;br /&gt;
==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。&lt;br /&gt;
 English:The Four Books on Women and the Biography of Lienu ─ ─ both describe the deeds of &lt;br /&gt;
  &lt;br /&gt;
 virtuous women in past dynasties to publicize the feudal virtues of women.&lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
纺绩女红(gōng工)──泛指女子应做的家务活计。&lt;br /&gt;
&lt;br /&gt;
Fangji Female Red (''gong'')──refers to the household chores of women.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:13, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。&lt;br /&gt;
&lt;br /&gt;
''Fangji'': &amp;quot;Fang&amp;quot; means to spin silk into yarn, &amp;quot;Ji&amp;quot; means to turn the hemp into thread.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 19:06, 25 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211229_homework&amp;diff=134255</id>
		<title>20211229 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211229_homework&amp;diff=134255"/>
		<updated>2021-12-25T07:14:37Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] [[20211027_homework|for Oct 27 - HLM Chapters 23-24]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
&lt;br /&gt;
心较比干多一窍──比干：暴君商(殷)纣王之叔，被誉为圣人。据《史记·殷本纪》载：纣王厌恶比干谏诤不已，怒曰：“吾闻圣人心有七窍。”于是“剖比干，观其心”。&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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古人以为心窍越多越聪明，故以“心较比干多一窍” 形容黛玉绝顶聪明。​&lt;br /&gt;
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病如西子胜三分──西子：即西施。《庄子·天运》说：“西施病心而颦(皱眉)”，益增娇艳。&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
&lt;br /&gt;
故以“病如西子胜三分”形容黛玉病弱而娇美。 胜：胜过，超过。 下面贾宝玉替林黛玉起表字为“颦颦”，亦用西施颦眉之典，但又不敢明说，故编了一套谎活，杜撰了《古今人物通考》书名。​&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
&lt;br /&gt;
教引嬷嬷──清代专司教导年幼皇子的女子，称“谙达”。后来世家大族也仿效而行。​&lt;br /&gt;
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“花气袭人”之句：是宋·陆游《村居书喜》中的半句，原诗为七言律诗：&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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“红桥梅市晓山横，白塔樊江春水生。花气袭人知骤暖，鹊声穿树喜新晴。坊场酒贱贫犹醉，原野泥深老亦耕。&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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最喜先期官赋足，经年无吏叩柴荆。”意谓因闻到花香，才知天气已经骤然暖和了。第二十三回和二十八回均引作“花气袭人知昼暖”，将“骤”误为“昼”，可能是曹雪芹误记。​&lt;br /&gt;
&lt;br /&gt;
==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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省(xǐ ng醒)——典出《礼记·曲礼上》：“凡为人子之礼，冬温而夏凊，昏定而晨省。”[凊( jìng净)：凉。]&lt;br /&gt;
&lt;br /&gt;
==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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意谓子女冬天要为父母焐暖被褥，夏天要为父母扇凉床席，每天早上要向父母请安问好，晚上要服侍父母安寝。泛指子女对父母的孝敬无微不至。故“省”即“晨省”的略称。&lt;br /&gt;
&lt;br /&gt;
==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
&lt;br /&gt;
指子女早晨向父母请安问候的礼节。​&lt;br /&gt;
&lt;br /&gt;
第四回 薄命女偏逢薄命郎，葫芦僧判断葫芦案&lt;br /&gt;
&lt;br /&gt;
==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
&lt;br /&gt;
却说黛玉同姐妹们至王夫人处，见王夫人正和兄嫂处的来使计议家务，又说姨母家遭人命官司等语。因见王夫人事情冗杂，姐妹们遂出来 ,至寡嫂李氏房中来了。原来这李氏即贾珠之妻。&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
&lt;br /&gt;
珠虽夭亡，幸存一子，取名贾兰，今方五岁，已入学攻书。这李氏亦系金陵名宦之女。父名李守中，曾为国子祭酒；族中男女无不读诗书者。&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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至李守中继续以来，便谓“女子无才便是德”，故生了此女，不曾叫他十分认真读书，只不过将些 《女四书》、 《烈女传》读读，认得几个字，记得前朝这几个贤女便了；&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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却以纺绩女红为要，因取名为李纨，字宫裁。所以这李纨虽青春丧偶，且居处于膏粱锦绣之中，竟如槁木死灰一般，一概不问不闻，惟知侍亲养子，闲时陪侍小姑等针黹、诵读而已。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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今黛玉虽客居于此，已有这几个姑嫂相伴，除老父之外，馀者也就无用虑了。如今且说贾雨村授了应天府，一到任，就有件人命官司详至案下，却是两家争买一婢，各不相让，以致殴伤人命。彼时雨村即拘原告来审。&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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那原告道：“被打死的乃是小人的主人。因那日买了个丫头，不想系拐子拐来卖的。这拐子先已得了我家的银子，我家小主人原说第二日方是好日，再接入门；&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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这拐子又悄悄的卖与了薛家，被我们知道了，去找拿卖主，夺取丫头。无奈薛家原系金陵一霸，倚财仗势，众豪奴将我小主人竟打死了。凶身主仆已皆逃走，无有踪迹，只剩了几个局外的人。&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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小人告了一年的状，竟无人作主。求太老爷拘拿凶犯，以扶善良，存殁感激天恩不尽！”雨村听了，大怒道：“那有这等事：打死人竟白白的走了，拿不来的？”&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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便发签差公人，立刻将凶犯家属拿来拷问。只见案旁站着一个门子，使眼色不叫他发签。雨村心下狐疑，只得停了手。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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退堂至密室，令从人退去，只留这门子一人伏侍。门子忙上前请安，笑问：“老爷一向加官进禄，八九年来，就忘了我了？”&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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雨村道：“我看你十分眼熟，但一时总想不起来。”门子笑道：“老爷怎么把出身之地竟忘了？老爷不记得当年葫芦庙里的事么？”雨村大惊，方想起往事。&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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原来这门子本是葫芦庙里一个小沙弥，因被火之后无处安身，想这件生意倒还轻省，耐不得寺院凄凉，遂趁年纪轻，蓄了发，充当门子。雨村那里想得是他。&lt;br /&gt;
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It turned out that the gatekeeper was originally a little monk in Bottle-gourd Temple. Because he had no place to settle down after the temple being burned by the fire, he thought this business was easy and could not bear the desolation of the temple. So he saved his hair and acted as a gatekeeper while he was young. Yue-ts'un didn't think it was him.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 07:10, 25 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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便忙携手笑道：“原来还是故人。”因赏他坐了说话。这门子不敢坐。雨村笑道：“你也算贫贱之交了。此系私室，但坐不妨。”门子才斜签着坐下。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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雨村道：“方才何故不令发签？”门子道：“老爷荣任到此，难道就没抄一张本省的‘护官符’来不成？”雨村忙问：“何为‘护官符’？”&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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门子道：“如今凡作地方官的，都有一个私单，上面写的是本省最有权势极富贵的大乡绅名姓，各省皆然。倘若不知，一时触犯了这样的人家，不但官爵，只怕连性命也难保呢！&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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所以叫做‘护官符’。方才所说的这薛家，老爷如何惹得他！他这件官司并无难断之处，从前的官府都因碍着情分脸面，所以如此。”&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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一面说，一面从顺袋中取出一张抄的“护官符”来，递与雨村看时，上面皆是本地大族名宦之家的俗谚口碑，云：贾不假，白玉为堂金作马。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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阿房宫，三百里，住不下金陵一个史。东海缺少白玉床，龙王来请金陵王。丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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雨村尚未看完，忽闻传点，报：“王老爷来拜。”雨村忙具衣冠接迎，有顿饭工夫，方回来问这门子。门子道：“四家皆连络有亲，一损俱损，一荣俱荣。&lt;br /&gt;
Yucun has not finished reading, suddenly smell spread point, report: &amp;quot;Wang master came to visit.&amp;quot; Yucun hurriedly arranged his clothes to meet him and had a meal before he came back to ask about it. Siemens way: &amp;quot;the four are connected to have relatives, a failure other destroyed, a glory other glory.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 06:45, 25 December 2021 (UTC)&lt;br /&gt;
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Yucun has not finished reading, but suddenly heard from the messenger saying : &amp;quot;Wang master come to visit.&amp;quot; Yucun hurriedly arranged his clothes to welcome him. Only after a meal did he come back to ask Menzi, who said: &amp;quot;the four families are closely connected, so do their  honor and failure.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:12, 25 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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今告打死人之薛，就是‘丰年大雪’之薛。不单靠这三家，他的世交亲友在都在外的本也不少，老爷如今拿谁去？”雨村听说，便笑问门子道：“这样说来，却怎么了结此案？&lt;br /&gt;
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The xue of killing people is the xue of 'heavy snow in the year of plenty'. He has not only these three families, but also many family friends and relatives who are away from home. Who are you going to take now?&amp;quot; Rain village heard, then smiled and asked Siemens way: &amp;quot;So say, but how to settle the case?--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 07:05, 25 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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你大约也深知这凶犯躲的方向了？”门子笑道：“不瞒老爷说，不但这凶犯躲的方向，并这拐的人我也知道，死鬼买主也深知道，待我细说与老爷听：&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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这个被打死的是一个小乡宦之子，名唤冯渊，父母俱亡，又无兄弟，守着些薄产度日。年纪十八九岁，酷爱男风，不好女色。这也是前生冤孽，可巧遇见这丫头，他便一眼看上了，立意买来作妾，设誓不近男色，也不再娶第二个了。&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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所以郑重其事，必得三日后方进门。谁知这拐子又偷卖与薛家，他意欲卷了两家的银子逃去；谁知又走不脱，两家拿住，打了个半死，都不肯收银，各要领人。&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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那薛公子便喝令下人动手，将冯公子打了个稀烂，抬回去三日竟死了。这薛公子原择下日子要上京的，既打了人，夺了丫头，他便没事人一般，只管带了家眷走他的路，并非为此而逃；&lt;br /&gt;
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He then rudely ordered his subordinates to do something about it, and beat Feng up so badly that he was carried home and died within three days. The Duke of Xue had intended to go to the capital in a few days, and since he had beaten and robbed the maid, he acted as if nothing had happened, and simply took his family away, not because of this escape;--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 06:59, 25 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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这人命些些小事，自有他弟兄、奴仆在此料理。这且别说，老爷可知这被卖的丫头是谁？”雨村道：“我如何晓得？”门子冷笑道：“这人还是老爷的大恩人呢！&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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他就是葫芦庙旁住的甄老爷的女儿，小名英莲的。”雨村骇然道：“原来是他！听见他自五岁被人拐去，怎么如今才卖呢？”门子道：“这种拐子单拐幼女，养至十二三岁，带至他乡转卖。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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当日这英莲，我们天天哄他玩耍，极相熟的，所以隔了七八年，虽模样儿出脱的齐整，然大段未改，所以认得；且他眉心中原有米粒大的一点胭脂记，从胎里带来的。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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偏这拐子又租了我的房子居住，那日拐子不在家，我也曾问他。他说是打怕了的，万不敢说，只说拐子是他的亲爹，因无钱还债才卖的。再四哄他，他又哭了，只说：‘我原不记得小时的事。’&lt;br /&gt;
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The trafficker had rented my house to live in by coincidence. I had ever asked her one day when the trafficker was not at home. She said that she dared not to say anything after being attacked for a long time, and only answered that he was her father who sold her to pay off the debts. By coaxing her for several times, she cried again and said that &amp;quot;I don’t remember what happened when I was a child&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:14, 25 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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这无可疑了。那日冯公子相见了，兑了银子，因拐子醉了，英莲自叹说：‘我今日罪孽可满了！’后又听见三日后才过门，他又转有忧愁之态。&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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我又不忍，等拐子出去，又叫内人去解劝他：‘这冯公子必待好日期来接，可知必不以丫鬟相看。况他是个绝风流人品，家里颇过得，素性又最厌恶堂客，今竟破价买你，后事不言可知。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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只耐得三两日，何必忧闷？’他听如此说，方略解些，自谓从此得所。谁料天下竟有不如意事，第二日，他偏又卖与了薛家。&lt;br /&gt;
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Only for three or two days, why bother to be depressed? Hearing this, he relieved a little bit, saying that he would get a place to settle since then. Unexpectedly, everything is never perfect. On the next day, he was sold to the Xue.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:13, 25 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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若卖与第二家还好，这薛公子的混名，人称他‘呆霸王’，最是天下第一个弄性尚气的人，而且使钱如土。只打了个落花流水，生拖死拽，把个英莲拖去，如今也不知死活。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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这冯公子空喜一场，一念未遂，反花了钱，送了命，岂不可叹！”雨村听了，也叹道：“这也是他们的孽障遭遇，亦非偶然，不然这冯渊如何偏只看上了这英莲？&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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这英莲受了拐子这几年折磨，才得了个路头，且又是个多情的，若果聚合了，倒是件美事，偏又生出这段事来。这薛家纵比冯家富贵，想其为人，自然姬妾众多，淫佚无度，未必及冯渊定情于一人。&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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这正是梦幻情缘，恰遇见一对薄命儿女。且不要议论他人，只目今这官司如何剖断才好？”门子笑道：“老爷当年何其明决，今日何反成个没主意的人了？&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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小的听见老爷补升此任，系贾府、王府之力。此薛蟠即贾府之亲，老爷何不顺水行舟，做个人情，将此案了结，日后也好去见贾、王二公。”&lt;br /&gt;
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I heard that you respected master assumed office with the help of Jia Mansion and Wang Mansion. Xue Pan is a relative of Jia Mansion. Why don’t you do him a special favor, making use of the opportunity to settle the case, so that you can make a smooth explanation to master Jia and Wang in days to come.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 07:03, 25 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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雨村道：“你说的何尝不是，但事关人命，蒙皇上隆恩，起复委用，正竭力图报之时，岂可因私枉法？是实不忍为的。”门子听了，冷笑道：&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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“老爷说的自是正理，但如今世上是行不去的。岂不闻古人说的：‘大丈夫相时而动。’又说：‘趋吉避凶者为君子。’依老爷这话，不但不能报效朝廷，亦且自身不保，还要三思为妥。”&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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雨村低了头，半日方说道：“依你怎么着？”门子道：“小人已想了个很好的主意在此：老爷明日坐堂，只管虚张声势，动文书，发签拿人。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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凶犯自然是拿不来的，原告固是不依，只用将薛家族人及奴仆人等拿几个来拷问；小的在暗中调停，令他们报个‘暴病身亡’，合族中及地方上共递一张保呈。&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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老爷只说善能扶鸾请仙，堂上设了乩坛，令军民人等只管来看。老爷便说：‘乩仙批了，死者冯渊与薛蟠原系夙孽，今犯狭路相遇，原应了结：&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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今薛蟠已得了无名之病，被冯渊的魂魄追索而死。其祸皆由拐子而起，除将拐子按法处治外，馀不累及’等语。小人暗中嘱咐拐子，令其实招。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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众人见乩仙批语与拐子相符，自然不疑了。薛家有的是钱，老爷断一千也可，五百也可，与冯家作烧埋之费。那冯家也无甚要紧的人，不过为的是钱，有了银子，也就无话了。&lt;br /&gt;
&lt;br /&gt;
==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
&lt;br /&gt;
老爷细想，此计如何？”雨村笑道：“不妥，不妥。等我再斟酌斟酌，压服得口声才好。”二人计议已定。至次日坐堂，勾取一干有名人犯，雨村详加审问。&lt;br /&gt;
&lt;br /&gt;
==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
&lt;br /&gt;
果见冯家人口稀少，不过赖此欲得些烧埋之银；薛家仗势倚情，偏不相让：故致颠倒未决。雨村便徇情枉法，胡乱判断了此案。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
&lt;br /&gt;
冯家得了许多烧埋银子，也就无甚话说了。雨村便疾忙修书二封与贾政并京营节度使王子腾，不过说“令甥之事已完，不必过虑”之言寄去。&lt;br /&gt;
&lt;br /&gt;
==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
&lt;br /&gt;
此事皆由葫芦庙内沙弥新门子所为，雨村又恐他对人说出当日贫贱时事来，因此心中大不乐意。后来到底寻了他一个不是，远远的充发了才罢。当下言不着雨村。&lt;br /&gt;
&lt;br /&gt;
==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
&lt;br /&gt;
且说那买了英莲、打死冯渊的薛公子，亦系金陵人氏，本是书香继世之家。只是如今这薛公子幼年丧父，寡母又怜他是个独根孤种，未免溺爱纵容些，遂致老大无成；&lt;br /&gt;
&lt;br /&gt;
==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
&lt;br /&gt;
且家中有百万之富，现领着内帑钱粮，采办杂料。这薛公子学名薛蟠，表字文起，性情奢侈，言语傲慢；虽也上过学，不过略识几个字，终日惟有斗鸡走马，游山玩景而已。&lt;br /&gt;
&lt;br /&gt;
==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
&lt;br /&gt;
虽是皇商，一应经纪世事全然不知，不过赖祖、父旧日的情分，户部挂个虚名，支领钱粮；其馀事体，自有伙计、老家人等措办。&lt;br /&gt;
&lt;br /&gt;
==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
&lt;br /&gt;
寡母王氏，乃现任京营节度使王子腾之妹，与荣国府贾政的夫人王氏是一母所生的姊妹，今年方五十上下，只有薛蟠一子。还有一女，比薛蟠小两岁，乳名宝钗，生得肌骨莹润，举止娴雅。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
&lt;br /&gt;
当时他父亲在日极爱此女，令其读书识字，较之乃兄竟高十倍。自父亲死后，见哥哥不能安慰母心，他便不以书字为念，只留心针黹、家计等事，好为母亲分忧代劳。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
&lt;br /&gt;
近因今上崇尚诗礼，征采才能，降不世之隆恩，除聘选妃嫔外，凡世宦名家之女，皆得亲名达部，以备选择为公主、郡主入学陪侍，充为才人、赞善之职。&lt;br /&gt;
&lt;br /&gt;
==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
&lt;br /&gt;
自薛蟠父亲死后，各省中所有的买卖承局、总管、伙计人等，见薛蟠年轻不谙世事，便趁时拐骗起来，京都几处生意，渐亦销耗。&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
&lt;br /&gt;
薛蟠素闻得都中乃第一繁华之地，正思一游，便趁此机会：一来送妹待选；二来望亲；三来亲自入部销算旧账，再计新支；其实只为游览上国风光之意。&lt;br /&gt;
&lt;br /&gt;
==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
&lt;br /&gt;
因此早已检点下行装细软，以及馈送亲友各色土物人情等类，正择日起身，不想偏遇着那拐子卖英莲。薛蟠见英莲生的不俗，立意买了作妾，又遇冯家来夺，因恃强喝令豪奴将冯渊打死。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
&lt;br /&gt;
便将家中事务，一一嘱托了族中人并几个老家人；自己同着母亲、妹子，竟自起身长行去了。人命官司，他却视为儿戏，自谓花上几个钱，没有不了的。&lt;br /&gt;
&lt;br /&gt;
==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
&lt;br /&gt;
在路不计其日。那日已将入都，又听见母舅王子腾升了九省统制，奉旨出都查边。薛蟠心中暗喜道：“我正愁进京去有舅舅管辖，不能任意挥霍；如今升出去，可知天从人愿。”&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
&lt;br /&gt;
因和母亲商议道：“咱们京中虽有几处房舍，只是这十来年没人居住，那看守的人未免偷着租赁给人住，须得先着人去打扫收拾才好。”他母亲道：“何必如此招摇？&lt;br /&gt;
&lt;br /&gt;
==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
&lt;br /&gt;
咱们这进京去，原是先拜望亲友，或是在你舅舅处，或是你姨父家，他两家的房舍极是宽敞的，咱们且住下，再慢慢儿的着人去收拾，岂不消停些？”&lt;br /&gt;
&lt;br /&gt;
==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
&lt;br /&gt;
薛蟠道：“如今舅舅正升了外省去，家里自然忙乱起身，咱们这会子反一窝一拖的奔了去，岂不没眼色呢？”他母亲道：“你舅舅虽升了去，还有你姨父家。&lt;br /&gt;
&lt;br /&gt;
==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
&lt;br /&gt;
况这几年来，你舅舅、姨娘两处，每每带信捎书接咱们来；如今既来了，你舅舅虽忙着起身，你贾家的姨娘未必不苦留我们，咱们且忙忙的收拾房子，岂不使人见怪？你的意思，我早知道了：&lt;br /&gt;
&lt;br /&gt;
==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
&lt;br /&gt;
守着舅舅、姨母住着，未免拘紧了；不如各自住着，好任意施为。你既如此，你自去挑所宅子去住；我和你姨娘，姊妹们别了这几年，却要住几日，我带了你妹子去投你姨娘家去。你道好不好？”&lt;br /&gt;
&lt;br /&gt;
==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
&lt;br /&gt;
薛蟠见母亲如此说，情知扭不过，只得吩咐人夫，一路奔荣国府而来。那时王夫人已知薛蟠官司一事，亏贾雨村就中维持了，才放了心。&lt;br /&gt;
&lt;br /&gt;
==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
&lt;br /&gt;
又见哥哥升了边缺，正愁少了娘家的亲戚来往，略觉寂寞。过了几日，忽家人报：“姨太太带了哥儿、姐儿，合家进京，在门外下车了。”&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
&lt;br /&gt;
喜的王夫人忙带了人，接到大厅上，将薛姨妈等接进去了。姊妹们一朝相见，悲喜交集，自不必说。叙了一番契阔，又引着拜见贾母，将人情土物各种酬献了，合家俱厮见过，又治席接风。&lt;br /&gt;
&lt;br /&gt;
==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
&lt;br /&gt;
薛蟠拜见过贾政、贾琏，又引着见了贾赦、贾珍等。贾政便使人进来对王夫人说：“姨太太已有了年纪，外甥年轻，不知庶务，在外住着，恐又要生事。&lt;br /&gt;
&lt;br /&gt;
==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
&lt;br /&gt;
咱们东南角上梨香院那一所房十来间白空闲着，叫人请了姨太太和姐儿、哥儿住了甚好。”王夫人原要留住。贾母也遣人来说：“请姨太太就在这里住下，大家亲密些。”&lt;br /&gt;
&lt;br /&gt;
==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
&lt;br /&gt;
薛姨妈正欲同居一处，方可拘紧些儿子；若另住在外边，又恐他纵性惹祸：遂忙应允。又私与王夫人说明：“一应日费供给，一概都免，方是处常之法。”&lt;br /&gt;
&lt;br /&gt;
==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
&lt;br /&gt;
王夫人知他家不难于此，遂亦从其自便。从此后，薛家母女就在梨香院住了。原来这梨香院乃当日荣公暮年养静之所，小小巧巧，约有十馀间房舍，前厅后舍俱全。&lt;br /&gt;
&lt;br /&gt;
==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
&lt;br /&gt;
另有一门通街，薛蟠的家人就走此门出入。西南上又有一个角门，通着夹道子，出了夹道，便是王夫人正房的东院了。每日或饭后或晚间，薛姨妈便过来，或与贾母闲谈，或与王夫人相叙；&lt;br /&gt;
&lt;br /&gt;
==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
&lt;br /&gt;
宝钗日与黛玉、迎春姊妹等一处，或看书下棋，或做针黹：倒也十分相安。只是薛蟠起初原不欲在贾府中居住，生恐姨父管束，不得自在。无奈母亲执意在此，且贾宅中又十分殷勤苦留，只得暂且住下；&lt;br /&gt;
&lt;br /&gt;
==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
&lt;br /&gt;
一面使人打扫出自家的房屋，再移居过去。谁知自此间住了不上一月，贾宅族中凡有的子侄，俱已认熟了一半，都是那些纨袴气习，莫不喜与他来往。&lt;br /&gt;
&lt;br /&gt;
==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
&lt;br /&gt;
今日会酒，明日观花，甚至聚赌嫖娼，无所不至，引诱的薛蟠比当日更坏了十倍。虽说贾政训子有方，治家有法，一则族大人多，照管不到；二则现在房长乃是贾珍，彼乃宁府长孙，又现袭职，凡族中事，都是他掌管；&lt;br /&gt;
&lt;br /&gt;
==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
&lt;br /&gt;
三则公私冗杂，且素性潇洒，不以俗事为要，每公暇之时，不过看书、着棋而已；况这梨香院相隔两层房舍，又有街门别开，任意可以出入：&lt;br /&gt;
&lt;br /&gt;
==Nadia 202011080004==&lt;br /&gt;
&lt;br /&gt;
这些子弟们所以只管放意畅怀的，因此薛蟠遂将移居之念渐渐打灭了。&lt;br /&gt;
&lt;br /&gt;
==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
日后如何，下回分解。葫芦僧判断葫芦案──&lt;br /&gt;
&lt;br /&gt;
==Mariam Toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
“葫芦”的谐音为糊涂，故其意谓糊涂僧糊涂判案。&lt;br /&gt;
&lt;br /&gt;
==Rouabah Soumaya 202121080001==&lt;br /&gt;
&lt;br /&gt;
指知县贾雨村按照现为衙门门子而原为葫芦庙小沙弥的主意糊里糊涂判结了薛蟠强买甄英莲并打死人命一案。&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
&lt;br /&gt;
女子无才便是德──语出明·张岱《公祭祁夫人文》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
“(陈)眉公曰：‘丈夫有德便是才，女子无才便是德。’此语殊为未确。”&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
(又见清·石成金《家训钞》引)&lt;br /&gt;
&lt;br /&gt;
==Zohaib Chand 202121080005==&lt;br /&gt;
&lt;br /&gt;
意谓女子如果读书识字，便可能受到小说、戏曲的不良影响，做出伤风败俗的事，倒不如不识字而能保持妇德。&lt;br /&gt;
&lt;br /&gt;
==Jawad Ahmad 202121080006==&lt;br /&gt;
&lt;br /&gt;
《女四书》、《列女传》──都是记述历代贤德女子的事迹，以宣扬封建妇德的书。 &lt;br /&gt;
&lt;br /&gt;
==Nizam Uddin 202121080007==&lt;br /&gt;
&lt;br /&gt;
《女四书》：明·王相模仿南宋·朱熹所编《四书》而辑成，包括东汉·班昭的《女诫》、唐·宋若莘和宋若昭的《女论语》、明·永乐皇后徐氏的《内训》、王相之母刘氏的《女范捷录》四种专讲女德的书，故称。&lt;br /&gt;
&lt;br /&gt;
==Öncü 202121080008==&lt;br /&gt;
&lt;br /&gt;
《列女传》：西汉·刘向编撰。全书七卷，每卷为一类，分别为母仪、贤明、仁智、贞顺、节义、辩通、嬖孽，共收妇女故事一百零四则。​&lt;br /&gt;
&lt;br /&gt;
==Akira Jantarat 202121080009==&lt;br /&gt;
&lt;br /&gt;
纺绩女红(gōng工)──泛指女子应做的家务活计。 &lt;br /&gt;
&lt;br /&gt;
==Benjamin Wellsand 202111080118==&lt;br /&gt;
&lt;br /&gt;
纺绩：“纺”是把丝纺成纱，“绩”是把麻绩成线。 &lt;br /&gt;
&lt;br /&gt;
==Asep Budiman 202111080020==&lt;br /&gt;
&lt;br /&gt;
女红：又作“女工”或“女功”。&lt;br /&gt;
&lt;br /&gt;
==Ei Mon Kyaw 202111080021==&lt;br /&gt;
&lt;br /&gt;
是指纺织、缝纫、刺绣等。&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134181</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134181"/>
		<updated>2021-12-22T11:26:06Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
&lt;br /&gt;
PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
&lt;br /&gt;
PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
&lt;br /&gt;
==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Dowager lady Chia was so distressed that she clasped Pao-yue in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Pao-yue's face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: It was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Xijiang Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134180</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134180"/>
		<updated>2021-12-22T11:25:12Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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Dowager Jia smiled and said, &amp;quot;nonsense again. Have you ever seen it?&amp;quot; Baoyu said with a smile, &amp;quot;although I haven't seen it, I look good and feel like I'm far from meeting again.&amp;quot; Dowager Jia  said with a smile, &amp;quot;OK, OK! It's more harmonious.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:18, 21 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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Baoyu went to Daiyu and sat down. She looked at her carefully, because she asked, &amp;quot;has your sister ever read?&amp;quot; Daiyu said, &amp;quot;I didn't study. I only studied for a year. I have to recognize a few words.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 13:12, 21 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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Precious Jade smiled and said:&amp;quot; I want to give away two words to you—Pingping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Jade said:&amp;quot;''On General Study of Ancient and Modern Characters''.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:37, 22 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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'There is a stone in the west named Dai, it can replace the ink of painting eyebrows.' The sister's eyebrows are frown, if take this word for name, isn’t it very beautiful?&amp;quot; Tanchun laughed: &amp;quot;I'm afraid it's a fabrication again.&amp;quot;--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 06:29, 22 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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All those, who stood below, were startled; and in a body they pressed forward, vying with each other as to who should pick up the gem.&lt;br /&gt;
Dowager lady Chia was so distressed that she clasped Pao-yue in her embrace. &amp;quot;You child of wrath,&amp;quot; she exclaimed. &amp;quot;When you get into a passion, it's easy enough for you to beat and abuse people; but what makes you fling away that stem of life?&amp;quot;&lt;br /&gt;
Pao-yue's face was covered with the traces of tears. &amp;quot;All my cousins here, senior as well as junior,&amp;quot; he rejoined, as he sobbed, &amp;quot;have no gem, and if it's only I to have one, there's no fun in it, I maintain! “.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 06:27, 22 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn't want to publicise it.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 07:00, 22 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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&amp;quot;If you don't take it with you, be careful your mother knows&amp;quot; As she spoke, she took the jade from the servant girl and adorned him herself. When Precious Jade Merchant heard her say this, he thought for a while and said nothing else.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 06:56, 22 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 05:38, 21 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little girl named Polly. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mummys.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:40, 20 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
In addition to the two servants who are in charge of jewelry and toiletries, there are four or five little maids who sweep the house and do chores. At the moment King mammy and polly accompany daiyu in green gauze room, Baoyu’s mammy li and big maid  Xiren accompany on the big bed outside.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 14:37, 20 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness, then assigned her to serve Jade, for Lady Dowager coddled him and worried that the maids of Jade not professional. Jade knew her last name was Flower, and saw once a poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager. And then Rui Zhu was named Xi Ren.--[[User:Li Aixuan|Li Aixuan]] ([[User talk:Li Aixuan|talk]]) 12:33, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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However, it is said that Hsi-jen is crazy: when seving Jia's mother, only Jia's mother is in her heart; now serving Jade, there is only Jade in her heart. Because of Jade's perverse temperament, when Jade doesn't listen to her advise, Hsi-jen is really depressed.&lt;br /&gt;
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However, Hsi Jen had several simple traits. While in attendance upon dowager lady Chia, in her heart and her eyes there was no one but her venerable ladyship, and her alone; and now in her attendance upon Pao-yue, her heart and her eyes were again full of Pao-yue, and him alone. But as Pao-yue was of a perverse temperament and did not heed her repeated injunctions, she felt at heart exceedingly grieved.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 00:42, 21 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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At night, after nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&lt;br /&gt;
&amp;quot;How is it, miss，&amp;quot; she inquired smiling, &amp;quot;that you have not turned in as yet？&amp;quot;&lt;br /&gt;
Tai-yue at once put on a smile. &amp;quot;Sit down, sister, &amp;quot; she rejoined, pressing her to take a seat. --[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 01:37, 21 December 2021 (UTC)&lt;br /&gt;
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At night, after Master Bao and nurse Li had fallen asleep, seeing that in the inner chambers, Tai-yue and Ying Ko had not as yet retired to rest, she removed her makeup, and with gentle step walked in.&amp;quot;How is it, miss，&amp;quot; she inquired smilingly, &amp;quot;that you have not turned in as yet？&amp;quot; Tai-yue at once put on a smile. &amp;quot;Sit down, my dear sister, &amp;quot; she rejoined, leading her to take a seat.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:41, 21 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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Hsi-jen then sat by the bedside. Ying Ko ridiculed, &amp;quot;Miss Lin was feeling sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade was truly broken apart, then I am sure to blame.&amp;quot;--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 14:29, 21 December 2021 (UTC)&lt;br /&gt;
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Aroma then sat by the bedside. Brother Parrot ridiculed, &amp;quot;Miss Lin feels sad with her tears dropping down today, saying that 'It is the first day that I come here, while I have triggered the relapse of your young master. If his precious jade is truly broken apart, then I'll be sure to blame.&amp;quot;--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:45, 22 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, young lady. There will be more stranger jokes in the future.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 02:40, 22 December 2021 (UTC)&lt;br /&gt;
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“She is therefore so sad, and I had a hard time persuading her to stop crying.” Aroma said: “Please don’t look so sad, my mistress. There will be more stranger jokes in the future.”--[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 10:51, 22 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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Jing, used to ​describe the extremely simple dress of a woman. In Han, Liu Xiang's &amp;quot;Biography of the Female&amp;quot; (see ”Taiping Yu Lan“（Imperial Review under the Reign of Taizong in the Song Dynasty）, vol. 718): &amp;quot;Liang Hong's wife, Meng Guang, was dressed in a woven hairpin and cloth skirt.&amp;quot; Jingchai (荆钗): a wooden stick used as a hairpin.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 05:02, 22 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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The Worries of Internal Concern - From Yuan Fan's &amp;quot; Settlement Zoran Policy &amp;quot;, And if Zoran still existed, then Gao Che (a generic term used by the Northern Dynasties for a part of the nomadic tribes in the north of the desert) would still have internal concerns and would not have had the strength to covet the vassal states.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 04:55, 22 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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This refers to the person or thing that family members need to take care of. ​&lt;br /&gt;
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Floral-Pendant Gates: it was  the second gate of a courtyard house with exquisite decoration in the old days. The top of the door was like a roof, with drooping carvings on the back and front of four corners, so it is called &amp;quot;Floral-Pendant Gates&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:25, 22 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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Verandah Chao Shou: It was also known as  “Corridor Chao Shou” or “Verandah Cross Hand”. Its gallery was similar to a two-handed cage into the two sleeves which formed a ring shape, so it was called “Verandah Chao Shou”. --[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 06:26, 22 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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Jun Yan Xiu Mei: beautiful eyes with long and delicate eyebrows. Gu Pan Shen Fei: looking left and right, with shining eyes and soaring spirit. Wen Cai Jing Hua: being radiant and full of energy.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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Narrow Ken coat ── namely tight quilted jacket. Narrow: thin. Ken: the name of the seams on the front and back of the jacket. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:50, 21 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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Etiquette Gate ── originally refers to the second main gate in the main gate of the government office. The reason why it is called &amp;quot;Etiquette Gate&amp;quot; is because the officers must be well-groomed when he arrives. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 08:38, 21 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
&amp;quot;Jiangning official records，organizational system，official &amp;quot;: &amp;quot;inside the system gate is the instrument gate, and inside the instrument gate is the visiting hall.&amp;quot; Later extended, the second main gate of everyone's house is also called Yimen. ​--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 11:12, 22 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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Luding Erfang Zuanshan—— it refers to two flat top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable. Then it makes a connection between principal room, east and west ear room as well as east and west wings so that it is more convenient for people to pass. It is called “extend in all directions” as described below.--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 02:14, 22 December 2021 (UTC)&lt;br /&gt;
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Luding Erfang Zuanshan——it refers to two flat-top ear rooms which are situated on the two sides of principal room and northern side of east and west wings and open up the door on the gable of ear rooms. Then it makes a connection between principal room, east and west ear rooms as well as east and west wings so that it is very convenient for people to pass. Therefore, it is called “accessible in all directions” as described below.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 07:44, 22 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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Luding: flat roof. Ear room: a room built by using a gable on either side of a principle room or wing-room.--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 02:00, 22 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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As they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters.--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 07:45, 20 December 2021 (UTC)&lt;br /&gt;
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Because they are located on both sides of the main house just like people’s ears, they are called “wings”.  Zuan Shan: this means breaking through the gables on both sides of the house to connect to adjacent houses and cloisters. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 05:48, 21 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
A large plaque with nine dragons painted in red gold on a black background. Nine Dragons: Ancient legend has it that dragons are born with nine sons, each with a different character. However, there are different sayings.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 05:36, 22 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
Ming-Yang Shen's &amp;quot;Sheng'an Waiji - Animals I - The Nine Sons of the Dragon&amp;quot; says: &amp;quot;The nine sons of the dragon were born without becoming dragons, but each had his own interests: the prisoner bull, who was good at music in his life, and the beast carved on the head of the huqin today is his posthumous image.&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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The ninth is called Jiao Tu, which is shaped like a screw and likes to close its mouth, so it is used as decoration on the door. Shen Defu of the Ming Dynasty, in his book ''Wanli Ye Huo, Vol.7, Cabinet, Longzi,'' also said, &amp;quot;When Duke Li Wenzheng of Changsha was in the cabinet, Emperor Xiaozong suddenly got down to ask the details of the birth of nine longzi.&lt;br /&gt;
--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 13:30, 21 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: it means “embedded”.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 08:04, 20 December 2021 (UTC)&lt;br /&gt;
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&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 01:18, 22 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Headband: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:25, 22 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
Song Gaocheng quoted the ''Record of Eryi'' in his book ''Things Documentary-Armed Soldiers-Headband'': “When Yu married the Tushan lady, there was a strong wind, thunder and rain. There were a thousand soldiers in gear, and those who were not wore equipment bound a thin red handkerchiefs on their foreheads in anticipation of the arrival of the god of clouds.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 01:21, 22 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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Yu asked, and said, ‘this is the first choice for samurai. When Qin Shihuang arrived at the sea, there was a dynasty, and all the people here wiped their foreheads, crimson shirts, and hakama. Since then, the guards wiped their foreheads and became the uniforms of the military.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 11:04, 22 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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It can be seen that it was originally a symbol of a soldier. Later, it was promoted to be used by ordinary men. Common people used cloth towels to tie their hair, and the rich used gold hoops to tie their hair, which also served as headwear. ​&lt;br /&gt;
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Arrow sleeve ─ ─ also known as &amp;quot;arrow suit&amp;quot;.&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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Later, it became a kind of clothing style, which was also worn by men who did not shoot arrows. ​&lt;br /&gt;
Two sentences of &amp;quot;inverted image&amp;quot; -- there seems to be a pun: one implies that Jia Baoyu's incarnation Shenying waiter watered Lin Daiyu's incarnation Jiangzhu fairy grass with nectar in Taixu fantasy;--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 11:03, 20 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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In addition, it implies that the two people share the same heartand fall in love at first sight. Below, Jia Baoyu said that &amp;quot;I have seen this sister&amp;quot; and &amp;quot;I feel like I am far from meeting again&amp;quot;. His intention is the same. ​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
English: (Jiao Ran: pure and white appearance.) The original means, He Yan's face it's like white as powdered.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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Two words in &amp;quot;Westlake Moon&amp;quot; According，Fill in two poems (also known as &amp;quot;Que&amp;quot;) in the poem of &amp;quot;Westlake Moon&amp;quot;.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:45, 21 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Words: Originally refers to the words in the song. Later, the words and the tune were separated and became one of the styles.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:33, 21 December 2021 (UTC)&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of the styles. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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However, it is still necessary to fill in lyrics according to the tune, so many lyric cards have been developed. Each lyric card has regulations on the number of words, sentences, and rhymes, as well as the differences between double tune, long tune, and short meter. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:58, 21 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not go beyond those criteria. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 07:56, 21 December 2021 (UTC)&lt;br /&gt;
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The preceding phrase &amp;quot;filling in words&amp;quot; means to fill in the words in accordance with the specifications of the words and phrases, and do not overstep the prescribed limit. --[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:23, 22 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;br /&gt;
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&amp;quot;Xijiang Moon&amp;quot; is one of the poems. This book uses a lot of words, so I won’t annotate them one by one below. ​--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 08:59, 22 December 2021 (UTC)Ei Mon Kyaw&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211222_homework&amp;diff=134067</id>
		<title>20211222 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211222_homework&amp;diff=134067"/>
		<updated>2021-12-20T07:37:21Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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PLEASE READ [[Joint_translation_terms|Joint translation terms]] &lt;br /&gt;
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PLEASE ALSO READ THE PREVIOUS PARTS, AT LEAST THE SENTENCES BEFORE YOUR OWN PART IN CHAPTER 19 [[20210303_culture|1, Mar 3 Chapters 1-4]], [[20210310_culture|2, Mar 10 Chapters 6-7]], [[20210317_culture|3, Mar 17 Chapters 11-13]], [[20210324_culture|4, Mar 24 Chapters 15-17]], [[20210331_culture|5, Mar 31 Chapters 4-7]], [[20210407_culture|6, Apr 7 Chapters 8-10]], [[20210414_culture|7, Apr 14 Chapters 13-15]] , [[20210519_culture|12, May 19 Chapters 17-19]], [[20210929_homework#Hongloumeng|for Sep 29 - rest of HLM Chapter 19]] [[20211013_homework|for Oct 13 - HLM Chapters 20-21]] [[20211020_homework|for Oct 20 - HLM Chapters 21-22]] etc.&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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闲静似娇花照水，行动如弱柳扶风。心较比干多一窍，病如西子胜三分。宝玉看罢，笑道：“这个妹妹我曾见过的。”&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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贾母笑道：“又胡说了，你何曾见过？”宝玉笑道：“虽没见过，却看着面善，心里倒像是远别重逢的一般。”贾母笑道：“好，好！这么更相和睦了。”&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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宝玉便走向黛玉身边坐下，又细细打量一番，因问：“妹妹可曾读书？”黛玉道：“不曾读书，只上了一年学，些须认得几个字。”&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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宝玉又道：“妹妹尊名？”黛玉便说了名。宝玉又道：“表字？”黛玉道：“无字。”&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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宝玉笑道：“我送妹妹一字：莫若‘颦颦’二字极妙。”探春便道：“何处出典？”宝玉道：“《古今人物通考》上说：&lt;br /&gt;
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Baoyu smiled and said:&amp;quot; I want to describe you with two words—Ping Ping, and no words are better than them.&amp;quot; Tanchun then asked:&amp;quot;In which book did you find them?&amp;quot; Baoyu said:&amp;quot; On ''General Study of Ancient and Modern Characters''&amp;quot;--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 01:04, 20 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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‘西方有石名黛，可代画眉之墨。’况这妹妹眉尖若蹙，取这个字，岂不甚美？”探春笑道：“只怕又是杜撰。”&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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宝玉笑道：“除了《四书》，杜撰的也太多呢。”因又问黛玉：“可有玉没有？”众人都不解。&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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黛玉便忖度着：“因他有玉，所以才问我的。”便答道：“我没有玉。你那玉也是件稀罕物儿，岂能人人皆有？”&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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宝玉听了，登时发作起狂病来，摘下那玉就狠命摔去，骂道：“什么罕物！人的高下不识，还说灵不灵呢！我也不要这劳什子！”&lt;br /&gt;
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After hearing that,Precious Jade Merchant suddenly went mad. And he took off and dropped the jade with cursing that “What the hell is a rare thing! You all say that it is divine, but it can't tell lowliness or nobleness.I won't have the waste now!” --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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吓的地下众人一拥争去拾玉。贾母急的搂了宝玉道：“孽障，你生气，要打骂人容易，何苦摔那命根子？”宝玉满面泪痕，哭道：“家里姐姐妹妹都没有，单我有，我说没趣儿；&lt;br /&gt;
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The aside servants were scared and then rushed to pick up the jade.Jia's mother anxiously hugged Baoyu and said:&amp;quot; poor kid, if you are angry, why do you bother to fall the jade rahtere to beat and curse.&amp;quot;Covered with tears, Baoyu cried:&amp;quot; my beloved elder and litter sisters have no one. I'm ashamed of owning one.&amp;quot;&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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如今来了这个神仙似的妹妹也没有：可知这不是个好东西。”贾母忙哄他道：“你这妹妹原有玉来着，因你姑妈去世时，舍不得你妹妹，无法可处，遂将他的玉带了去：&lt;br /&gt;
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And now comes this angelic sort of cousin, and she too has none, so that it's clear enough that it is no profitable thing.&amp;quot; Dowager lady Chia hastened to coax him. &amp;quot;This cousin of yours,&amp;quot; she explained, &amp;quot;would, under former circumstances, have come here with a jade; and it's because your aunt felt unable, as she lay on her death-bed, to reconcile herself to the separation from your cousin, that in the absence of any remedy, she forthwith took the gem belonging to her (daughter), along with her (in the grave); --[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Now the newly arrived cousin who is as lovely as a fairy hasn't got one either, so it can't be any good.&amp;quot; &amp;quot;Your cousin did have one once,&amp;quot; said Dowager lady Chia to soothe him, &amp;quot;but when your aunt was dying she was unwilling to leave your cousin, the best she could do was to take the jade with her instead. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:49, 20 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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一则全殉葬之礼，尽你妹妹的孝心；二则你姑妈的阴灵儿也可权作见了你妹妹了。因此他说没有，也是不便自己夸张的意思啊。&lt;br /&gt;
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In that way, your cousin showed her filial piety by letting the jade be buried with her; in the meantime, your aunt’s spirit could see your cousin through the jade. Therefore, when your cousin said she hadn’t got one, it was because she didn’t want to boast about it. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 04:50, 20 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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你还不好生带上，仔细你娘知道。”说着，便向丫鬟手中接来，亲与他带上。宝玉听如此说，想了一想，也就不生别论。&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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当下奶娘来问黛玉房舍，贾母便说：“将宝玉挪出来，同我在套间暖阁里，把你林姑娘暂且安置在碧纱厨里。等过了残冬，春天再给他们收拾房屋，另作一番安置罢。”&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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宝玉道：“好祖宗，我就在碧纱厨外的床上很妥当，又何必出来，闹的老祖宗不得安静呢？”贾母想一想说：“也罢了。&lt;br /&gt;
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Baoyu said:” Dear grandma, I would rather stay at the bed outside the partition door, than at your room to bother you.”  The Lady Dowager said thoughtfully:”That’s Ok.”&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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每人一个奶娘并一个丫头照管，馀者在外间上夜听唤。”一面早有熙凤命人送了一顶藕合色花帐并锦被、缎褥之类。&lt;br /&gt;
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But let each one of you have a nurse, as well as a waiting-maid to attend on you; the other servants can remain in the outside rooms and keep night watch and be ready to answer any call.&amp;quot; At an early hour, besides, Hsi-feng had sent a servant round with a grey flowered curtain, embroidered coverlets and satin quilts and other such articles.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:25, 19 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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黛玉只带了两个人来：一个是自己的奶娘王嬷嬷；一个是十岁的小丫头，名唤雪雁。贾母见雪雁甚小，一团孩气；&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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王嬷嬷又极老：料黛玉皆不遂心，将自己身边一个二等小丫头，名唤鹦哥的与了黛玉。亦如迎春等一般：每人除自幼乳母外，另有四个教引嬷嬷；Mammy(Here mammy not means the lady who gives birth to a baby, but a lady who looks after some noble children) Wang is very old: she is not expectd to look after  Daiyu well. So,Daiyu's grandmother gave Daiyu to a second-class little page girl named Yingge. Daiyu's arrangement is also like Jia Yingchun who not only has the nursing mother, but also four teaching mothers.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 14:02, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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除贴身掌管钗钏盥沐两个丫头外，另有四五个洒扫房屋、来往使役的小丫头。当下王嬷嬷与鹦哥陪侍黛玉在碧纱厨内，宝玉乳母李嬷嬷并大丫头名唤袭人的陪侍在外面大床上。&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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原来这袭人亦是贾母之婢，本名蕊珠，贾母因溺爱宝玉，恐宝玉之婢不中使，素喜蕊珠心地纯良，遂与宝玉。宝玉因知他本姓花，又曾见旧人诗句有“花气袭人”之句，遂回明贾母，即把蕊珠更名袭人。&lt;br /&gt;
This maid Xi Ren, whose real name is Rui Zhu, also belongs to Lady Dowager. Lady Dowager enjoyed Rui Zhu’s purity and kindness then assigned her to Baoyu, for Lady Dowager coddled him and worried that the maids of Baoyu not work well. Baoyu knew her last name was Hua, and saw once poetic sentence “the fragrance of flowers assails noses”, then he talked it with Lady Dowager, and then Rui Zhu was named Xi Ren.--[[User:Kuang Yanli|Kuang Yanli]] ([[User talk:Kuang Yanli|talk]]) 07:12, 20 December 2021 (UTC)&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说袭人倒有些痴处：伏侍贾母时，心中只有贾母；如今跟了宝玉，心中又只有宝玉了。只因宝玉性情乖僻，每每规谏，见宝玉不听，心中着实忧郁。&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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是晚，宝玉、李嬷嬷已睡了，他见里面黛玉、鹦哥犹未安歇，他自卸了妆，悄悄的进来，笑问：“姑娘怎么还不安歇？”黛玉忙笑让：“姐姐请坐。”&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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袭人在床沿上坐了。鹦哥笑道：“林姑娘在这里伤心，自己淌眼抹泪的说：‘今儿才来了，就惹出你们哥儿的病来。倘或摔坏了那玉，岂不是因我之过？’&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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所以伤心。我好容易劝好了。”袭人道：“姑娘快别这么着。将来只怕比这更奇怪的笑话儿还有呢。&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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若为他这种行状，你多心伤感，只怕你还伤感不了呢。快别多心。”黛玉道：“姐姐们说的，我记着就是了。”&lt;br /&gt;
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“If you feel sad for his behavior, I’m afraid that you can’t be so. Don’t think too much.” Daiyu said: “I will remember what our sisters has said.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 00:23, 20 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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又叙了一会，方才安歇。次早起来，省过贾母，因往王夫人处来。正值王夫人与熙凤在一处拆金陵来的书信，又有王夫人的兄嫂处遣来的两个媳妇儿来说话。&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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黛玉虽不知原委，探春等却晓得是议论金陵城中居住的薛家姨母之子、表兄薛蟠倚财仗势，打死人命，现在应天府案下审理。如今舅舅王子腾得了信，遣人来告诉这边，意欲唤取进京之意。&lt;br /&gt;
Although Daiyu did not know the exact cause, Tanchun and others knew that it was xue Pan, son and cousin of aunt Xue who lived in Jinling city, who killed a man by taking advantage of his wealth and power, and was now being tried by the Tianfu court. Now uncle Prince teng got the letter, send people to tell here, intended to call the meaning of Beijing.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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Although Dai Yu did not know the original commission, Tan Chun and others knew that it was a discussion of Xue Pan, the son of the Xue family's aunt and cousin Xue Pan, who lived in Jinling City, who relied on wealth and power to kill people, and now it should be tried under the Tianfu case. Now that his uncle Prince Teng had received the letter, he sent someone to tell this side, intending to summon the intention of entering the capital.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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毕竟怎的，下回分解。&lt;br /&gt;
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起复——即重新起用被停职或撤职的官员，包括因父母丧停职回家守孝及因被弹劾而遭撤职的官员。​&lt;br /&gt;
If you want to know what happened, the answer is next time&lt;br /&gt;
Reinstatement – Reinstate officials who have been suspended or removed from their posts, including those who have been suspended from their posts for the death of their parents and who have been removed from office for impeachment.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:14, 19 December 2021 (UTC)&lt;br /&gt;
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After all, I'll break it down next time.&lt;br /&gt;
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Reinstatement - reinstatement of officials who have been suspended or removed from office, including those who have been removed from office due to the death of their parents and those who have been removed from office due to impeachment.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:24, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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邸(dǐ底)报——亦称“邸抄”、“抄报”、“宫门抄”，清代或称“京报”。中国古代官方报纸的通称。&lt;br /&gt;
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Di Pao -- also known as &amp;quot;Di Copy&amp;quot;, &amp;quot;copy newspaper&amp;quot; or &amp;quot;Palace Gate Copy&amp;quot; -- is also known as &amp;quot;Beijing Newspaper&amp;quot; during the Qing Dynasty. The general name of the official newspaper in ancient China.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:23, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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承办者或为地方官府驻京办事机构，或为朝廷。邸报专门抄发诏令、奏章及朝政新闻，以供地方官及时了解。 邸：原指战国时各诸侯在都城的客馆，后泛指地方官府驻京办事处。​&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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贱荆——亦称“拙荆”、“山荆”等。谦词。对人称自己的妻子。 荆：“荆钗布裙”的省称。&lt;br /&gt;
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&amp;quot;Jian Jing&amp;quot; ——also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot; etc. It's a modest word when a man mention his wife in front of others. &amp;quot;Jing&amp;quot;is a short name for &amp;quot;JingChaiBuQun&amp;quot;(the female have only a thorn for a hairpin and plain cloth for a skirt).   --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 12:36, 19 December 2021 (UTC)Liu Wei&lt;br /&gt;
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Jian Jing, also known as &amp;quot;Zhuo Jing&amp;quot;, &amp;quot;Shan Jing&amp;quot;,etc, is a humle term for quoting one's own wife. Jing is an abbreviation for &amp;quot;Jingchaibuqun&amp;quot;, that is, a thorn for a hairpin and palin cloth for a skirt.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:59, 20 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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形容妇人极为简朴的服饰。语出汉·刘向《列女传》(见《太平御览》卷七一八引)：“梁鸿妻孟光，荆钗布裙。” 荆钗：即以木棍为钗。&lt;br /&gt;
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Jing, used to ​describe women's plain, simple and unadorned clothes, is originated from a sentence in the ''Biographies of Exemplary Women'' written by Liu Xiang in the Han Dynasty (see ''Imperial Review under the Reign of Taizong in the Song Dynasty'', Vol.718): &amp;quot;Meng Guang, wife of Liang Hong has only a thorn for a hairpin and plain cloth for a skirt.&amp;quot; Jingchai means a thron for a hairpin.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 06:53, 20 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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内顾之忧──语出北朝魏·袁翻《安置蠕蠕表》：“且蠕蠕尚存，则高车犹有内顾之忧，未暇窥窬上国；&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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若蠕蠕全灭，则高车跋扈之计，岂易可知？”(蠕蠕：“柔然”的别称，亦称“芮芮”、“茹茹”。我国古代北方少数民族名。&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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高车：亦称“狄历”、“敕勒”、“铁勒”、“丁零”。 我国古代北方少数民族名。)意谓因对家事或国事的顾念而担忧。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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这里指家庭需要照顾的人或事。​&lt;br /&gt;
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垂花门──旧时较为讲究的四合院二门。门顶如屋顶式样，其四角和前后多有下垂的雕花，故称。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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超手游廊──亦作“超手回廊”、“抄手游廊”。房廊像两手笼入袖筒，两袖成环形状，故称。&lt;br /&gt;
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Verandah Chao Shou —— also known as &amp;quot;Corridor Chao Shou&amp;quot; and &amp;quot;Cross Hand Verandah&amp;quot;. Its gallery looked like a two-handed cage into the sleeves, and the two sleeves formed a ring shape, so it was called &amp;quot;Verandah Chao Shou&amp;quot;.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:37, 20 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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穿山游廊──指与厅房两边山墙门通连的回廊。以其可由山墙门穿行，故称。 山：即房屋两侧的山墙。​&lt;br /&gt;
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Chuan Shan You Lang: A veranda or corridor connected with the gable doors on both sides of the hall. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 13:22, 19 December 2021 (UTC)&lt;br /&gt;
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Chuan Shan You Lang: It refers to the corridor connected to the door of the wall on either side of the room. People can pass through the corridor after entering into the gable doors, so this kind of corridor is called such a name. Shan: The gable doors on both sides of a house.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:33, 19 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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“第一个”六句──这是对迎春形象的描写。 微丰：稍胖。 腮凝新荔：形容腮帮子像荔枝般的红润。&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red as lychees.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 13:29, 19 December 2021 (UTC)&lt;br /&gt;
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The first six lines - It is a description of Yingchun's image. Wei Feng: Slightly fat. Sai Ning Xin Li：The cheeks are as red and shiny as lychees.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:21, 20 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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鼻腻鹅脂：形容鼻端像鹅脂般光润。​&lt;br /&gt;
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“第二个”七句──这是对探春形象的描写。 削肩：俗称溜肩。&lt;br /&gt;
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Bi Ni E Zhi: an idiom to describe someone’s tip of nose is as shiny and smooth as goose grease.&lt;br /&gt;
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“The second” seven lines —— this is a depiction of the look of Tanchun. Rounded shoulders: commonly known as sloping shoulders --[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 07:18, 20 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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倾斜的双肩。古人以为美人肩。&lt;br /&gt;
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长挑身材：瘦高的身材。 鸭蛋脸儿：犹如鸭蛋似的长圆形脸盘。&lt;br /&gt;
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Sloping shoulders. The ancients considered these to be the shoulders of beauty.&lt;br /&gt;
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Long, tall figure: a tall, thin figure. Duck egg face: an oblong face like a duck egg.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:32, 20 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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俊眼修眉：秀美的眼睛，长长的秀眉。 顾盼神飞：左顾右盼，目光炯炯，神采飞扬。 文彩精华：光彩照人，精神十足。&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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见之忘俗：意谓别人见了就会忘了俗气，变得高雅起来。形容探春一身高雅之气。​&lt;br /&gt;
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“第三个”两句──这是对惜春形象的描写。&lt;br /&gt;
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To see is to forget vulgarity: It means that when others see something or someone will forget the secular atmosphere and  become more elegant. In this sentence, it describes Tanchun has a great elegant temperament.&lt;br /&gt;
&amp;quot;The third&amp;quot; two sentences ─ thses are  the description of the image of Xi Chun.--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 02:50, 20 December 2021 (UTC)&lt;br /&gt;
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Jian Zhi Wang Su: It means that others will forget the vulgarity and become elegant when they see it. It is used to describe Tanchun's elegance. &lt;br /&gt;
The two sentences containing “ the third” — are the image depiction of Sichun.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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形容惜春年纪尚小，身材和容貌都还没有发育成熟。​&lt;br /&gt;
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人参养荣丸──以人参、当归、黄芪、陈皮、白芍、熟地、桂心等配制而成的丸药，主治脾胃气血亏虚等症。&lt;br /&gt;
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It is used to describe the Xichun, who is still young and body and appearance are not developed.&lt;br /&gt;
Ginseng Yangrong Pill- A pill made of ginseng, angelica, astragalus, Chen Pi, Bai Shao, Shu Di, Gui Xin, etc., mainly used for treating deficiency of qi and blood in the spleen and stomach.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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It is used to depict Xichun, who is still in her young age and underdeveloped stature as well as appearance.&lt;br /&gt;
Ginseng tonic bolus- a sort of pill composed of ginseng, Angelica sinensis, astragalus, tangerine peel, white paleontology root, rehmannia glutinousa, laurel heart, etc. is mainly used to treat diseases such as deficiency in spleen, stomach, qi as well as blood.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 13:00, 19 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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荣：中医指血脉。 养荣丸：似有双关之意：除了保养血脉之意外，还有保养荣誉之意，与薛宝钗的“冷香丸”相对，以寓二人的不同性格。&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meaning. Apart from the maintenance of blood, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:45, 19 December 2021 (UTC)&lt;br /&gt;
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“Rong” refers to blood vessel in the field of traditional Chinese medicine. Tonic bolus embraces double meanings. Apart from the maintenance of blood vessel, it also boasts the function of maintaining the honor, which is opposite to “Cold Fragrant Pellet” of Xue Baochai. This is the revelation of different personalities between these two people.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:27, 20 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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窄褃(kèn掯)袄──即紧身妖。 窄：瘦小。 褃：是上衣前后幅两侧接缝部分的名称。&lt;br /&gt;
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Narrow ken coat ── is a tight quilted jacket.Narrow: thin.Ken: It is the name of the seams on the front and rear sides of the jacket.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 02:18, 20 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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仪门──原指官署大门里的第二道正门。之所以称“仪门”，是因为官员至此门必须整齐仪表。&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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《明会典·礼部十七·官员礼》：“新官到任之日……先至神庙祭祀毕，引至仪门前下马，具官服，从中道入。”&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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又《江宁府志·建制·官署》：“其制大门之内为仪门，仪门内为莅事堂。”后加以引申，大家府第的第二道正门也称仪门。​&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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鹿顶耳房钻山──这里是指在正房两侧与东西厢房北侧之间建有两座平顶耳房，并在耳房山墙上开门。如此则使正房、东西耳房、东西厢房皆可相通，便于穿行，所以下句说“四通八达”。&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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鹿顶：亦作“盝顶”。即平屋顶。 耳房：紧靠正房或厢房两侧并利用其山墙建造的房屋。&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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因其位于正房两侧，犹如人的两只耳朵，故称。 钻山：指打通房屋两侧的山墙，以与相邻的房屋或回廊相通。​&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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赤金九龙青地大匾──以赤金涂饰的九条雕龙为边框的黑底大匾。 九龙：古代传说龙生九子，性格各异。但说法各异。&lt;br /&gt;
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The horizontal board, which is  decorated with pink gold, night dragon and tuff - the board is black and is made of motifs of dragon and phoenix. The nine dragons: it is said that, in the ancient time, the dragon had nine sons, whose character were totally different. But there were different ideas about it.--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 14:02, 19 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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明·杨慎《升庵外集·动物一·龙生九子》说：“龙生九子不成龙，各有所好：囚牛，平生好音乐，今胡琴头上刻兽是其遗像；&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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睚毗，平生好杀，金刀柄上龙吞口是其遗像；嘲风，平生好险，今殿角走兽是其遗像；蒲牢，平生好鸣，今钟上兽纽是其遗像；&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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狻猊，平生好坐，今佛座狮子是其遗像；霸下，平生好负重，今碑座兽是其遗像；陛犴，平生好讼，今狱门上狮子头是其遗像；&lt;br /&gt;
Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 07:02, 20 December 2021 (UTC)&lt;br /&gt;
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Suan ni likes sitting all its life , it looks alike a lion, which usually appears in the pedestal of Buddha ; Ba xia likes bearing a heavy burden all its life, so its image usually appears under the stone monuments as a stele monster; Bi'an likes lawsuit all its life, so its image usually appears in the cell doors.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:25, 20 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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屓屭，平生好文，今碑两旁龙是其遗像；蚩吻，平生好吞，今殿脊兽头是其遗像。”明·焦竑《玉堂丛语·卷一·文学》则说：&lt;br /&gt;
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The clamshell, life is good literature, today the two sides of the monument dragon is its image; Chi kiss, life is good swallow, today the temple ridge beast head is its image.&amp;quot; Ming - Jiao Hong &amp;quot;Yu Tang Congye - Volume 1 - Literature&amp;quot; said.--[[User:Xie Qinglin|Xie Qinglin]] ([[User talk:Xie Qinglin|talk]]) 07:24, 20 December 2021 (UTC)&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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“俗传龙生九子不成龙，各有所好……一曰赑屭，形似龟，好负重，今石碑下龟趺是也；二曰螭吻，形似兽，性好望，今屋上兽头是也；&lt;br /&gt;
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“ It is said that the nine sons of dragons are not born into dragons, and each has its own features...One is Bixi shaped like a tortoise, and it is so heavy. It is also a tortoise under the stone tablet; the second is Liwen shaped like a beast, and it is well-known.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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三曰蒲牢，形似龙而小，性好叫吼，今钟上纽是也；四曰狴犴，形似虎，有威力，故立于狱门；五曰饕餮，好饮食，故立于鼎盖；&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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六曰，性好水，故立于桥柱；七曰睚毗，性好杀，故立于刀环；八曰金猊，形似狮，性好烟火，故立于香炉；&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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九曰椒图，形似螺蚌，性好闭，故立于门铺首。”明·沈德符《万历野获编·卷七·内阁·龙子》又说：“长沙李文正公在阁，孝宗忽下御札，问龙生九子之详。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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文正对云：‘其子蒲牢好鸣，今为钟上钮鼻；囚牛好音，今为胡琴头刻兽；睚眦好杀，今为刀剑上吞口；&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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嘲风好险，今为殿阁走兽；狻猊好坐，今为佛座骑象；霸下好负重，今为碑碣石趺；&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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狴犴好讼，今为狱户首镇压；屓屭好文，今为碑两旁蜿蜒；蚩吻好吞，今为殿脊兽头。’”&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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此外，明·陈仁锡《潜确类书》、明·胡侍《真珠船·龙生九子》、清·褚人获《坚瓠十集·龙九子》、清·高士奇《天禄识馀·龙种》，对九龙的名称、性格、用途的说法也各不相同，可见出于民间传说。世人多用作装饰，以示祥瑞。​&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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万幾宸(chén辰)翰之宝──此为皇帝印章所刻的文字。 万幾：国家纷繁复杂的政务。典出《尚书·虞书·皋陶谟》：“兢兢业业，一日二日万幾。”&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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孔颖达传云：“幾，微也，言当戒惧万事之微。”意谓尽管政务繁重，也不能忽略任何小事。亦称“万机”。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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典出《汉书·百官公卿表上》：“相国、丞相皆秦官，金印紫绶，掌丞天子，助理万机。”这里是形容皇帝日理万机，政务繁忙。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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宸：“北宸”的省称。即北极星。因皇帝上朝坐北朝南，遂为皇帝的代称。翰：本义是羽毛，因古代以羽毛为笔，引申为墨迹(书写的字)。&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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宝：这里指皇帝的印章。上古天子、诸侯均以圭璧制印，故称“宝”。唐以后只有帝、后之印可称“宝”。​&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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“座上”对联──珠玑：本义为珠宝，引申为名贵装饰。 昭日月：形容装饰光亮如日月。 昭：明亮。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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黼黻(fǔ fú府服)：泛指绣有华美花纹的礼服。《晏子春秋·谏下十五》：“公衣黼黻之衣，素绣之裳，一衣而王采具焉。” 黼：黑白相间的斧形花纹。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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黻：黑与青相间的亚形花纹。 焕烟霞：形容绣服放射出如烟如霞的光彩，绚丽多姿。 焕：放射光彩。此联形容主宾皆珠光宝气，服饰华丽。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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汝窑美人觚(gū孤)──出自著名汝窑的一种盛酒器。 汝窑：即北宋汝州瓷窑。因其青瓷器皿质量特佳，多为贡品，故名闻天下，后世成为收藏珍品。&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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美人觚：因其体长腰细，形似美人，故名。​&lt;br /&gt;
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椅搭──又称“椅披”。是一种长方形织物的椅用装饰品。因搭或披在椅背和椅坐上，故名。​&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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掐牙——是一种装饰性衣服花边。即以锦缎等折叠成细条，镶嵌在衣边上，以为美观。 掐：嵌入之意。&lt;br /&gt;
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Qia Ya— a kind of decorative lace. That is to fold brocade into thin strips and inlay them on the edge of the clothes to look beautiful. Qia: embedded.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 12:30, 19 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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牙：即“牙子”。器物突出的边沿。​&lt;br /&gt;
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《四书》──即《论语》、《孟子》、《大学》、《中庸》(后两种原为《礼记》中的两篇)。&lt;br /&gt;
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“Ya”: also called &amp;quot;Ya Zi&amp;quot; in Chinese. It means the protruding edge of an object. &lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books from ''The Book of Rites'').--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 12:22, 19 December 2021 (UTC)&lt;br /&gt;
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''The Four Books'' includes— ''The Confucian Analects'', ''The Works of Mencius'', ''The Great Learning'', and ''The Doctrine of the Mean'' (the latter two were originally two books chosen from ''The Book of Rites'').&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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宋代朱熹选定并定名《四书》，遂成为元、明、清三代科举考试的必读之书。​&lt;br /&gt;
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抹额：原指束在额上的头巾。其起源似乎很早。&lt;br /&gt;
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During the Song dynasty, Zhu xi chose and named ''Four Books'' which became the required readings in Imperial Competitive Examinations of Yuan dynasty, Ming dynasty, and Qing dynasty.&lt;br /&gt;
Mo E: It originally refers to a kerchief tied around the forehead. Its origin seems to be very early.&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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宋·高承《事物纪原·戎容兵械·抹额》引《二仪实录》曰：“禹娶涂山之夕，大风雷电，中有甲卒千人，其不披甲者，以红绡帕抹其头额，云海神来朝。&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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禹问之，对曰：‘此武士之首服也。’秦始皇至海上，有神朝，皆抹额、绯衫、大口袴。侍卫自此抹额，遂为军容之服。&lt;br /&gt;
Yu asked and replied, &amp;quot;this is the surrender of a warrior.&amp;quot; When the first emperor of Qin went to the sea, there was the divine Dynasty where people  wore red upper garment and loose trousers and decorated with smear. Since then, bodyguards decorated their forehead with smear, which has become a kind of military costume.--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:17, 19 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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可知原为军人的标志。后普及到一般男子，平民以布巾束发，富人用金箍束发，兼为头饰。​&lt;br /&gt;
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箭袖──亦称“箭衣”。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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是一种窄袖长袍。其袖口呈斜切状，朝手背的袖口长，朝手心的袖口短，便于射箭，故名。其斜袖口又形似马蹄，故又称马蹄袖。&lt;br /&gt;
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It's a kind of robe with narrow sleeves. Its cuffs were  in a diagonal cut shape. The cuffs facing the back of the hand are long and the cuffs facing the palm are short, which is convenient for archery, so it is named Arrow Sleeves. Its oblique cuff is also shaped like a horseshoe, so it is also called horseshoe sleeve.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 05:55, 20 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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后成为一种服式，不射箭的男子也穿。​&lt;br /&gt;
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“倒像”两句──似有双关之意：一者暗指贾宝玉的化身神瑛侍者在太虚幻境用甘露浇灌林黛玉的化身绛珠仙草；&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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再者隐寓二人心有灵犀一点通，一见锺情。下文贾宝玉说“这个妹妹我曾见过的”、“心里倒像是远别重逢的一般”，其用意同此。​&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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请安──这里指的是清代一种见面问好的特殊礼仪：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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男子须在口称“请某某安”的同时，右膝弯曲或跪地(俗称打千)；&lt;br /&gt;
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==Mariam Toure 2020GBJ002301==&lt;br /&gt;
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女子则在口称“请某某安”的同时，双手扶左膝，右腿微屈，身体半蹲。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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寄名锁──旧时父母为保佑幼儿长命百岁，让幼儿作僧、道的“寄名”弟子，并在幼儿项下悬挂锁形饰物，谓之“寄名锁”。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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面如傅粉──语本南朝宋·刘义庆《世说新语·容止》：&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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“何平叔(晏)美姿仪，面至白。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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魏明帝疑其傅粉，正夏月，与热汤饼。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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既啖，大汗出，以朱衣自拭，色转皎然。”&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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(皎然：洁白貌。)原指何晏的脸上好像抹了香粉般洁白。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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引申以泛喻男子姿容洁白秀美。&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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《西江月》二词──即按照《西江月》词牌填写的两首(也称“阕”)词。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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词：原本指歌曲中的文词，后来文词与曲调分离，遂变成文体之一。&lt;br /&gt;
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Word: It originally referred to the words in a song. In time, the words and the tune separated and became one of style. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:14, 19 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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但仍须按曲填词，于是发展出许多词牌，每个词牌都有字数、句数、韵脚等规定，还有双调、长调、小令之别。&lt;br /&gt;
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However, it is still necessary to fill in the lyrics according to the tune. So many poems have been developed. Each poem has a word count, sentence count, rhymes and other provisions, as well as the difference between two-tone, long tune, and short meter.--[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 13:10, 19 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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故作词谓之“填词”，就是按照词牌的规范填写文字，不可越雷池一步。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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《西江月》就是词牌之一。本书用了不少词牌，以下不再一一注释。​&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=134059</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=134059"/>
		<updated>2021-12-20T07:22:13Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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Tripod (Ding in Chinese): ancient food utensil. Hu Chan in Chinese means nonsense. Chan in Chinese originally means that the sheep live together, whose extensive meaning is mess.&lt;br /&gt;
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Tripod: ancient food utensil. Hi Chan - nonsense. The original meaning is that sheep live together. It is extended meaning to be messy, impure and messy.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:25, 12 December 2021 (UTC)&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Grasping -- namely &amp;quot;grasping the week&amp;quot;, also known as &amp;quot;trying the child&amp;quot; and &amp;quot;trying the week&amp;quot;. The old custom is that when a baby reaches the age of one year, his parents arrange all kinds of small objects and let him grab them to test his temperament, intelligence and interest. This custom began in the south of the Yangtze River and later spread to the north.&lt;br /&gt;
--[[User:Cai Zhufeng|Cai Zhufeng]] ([[User talk:Cai Zhufeng|talk]]) 01:23, 12 December 2021 (UTC)&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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== Headline text ==&lt;br /&gt;
==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is called Shi Zhou now, on whiche Jiang Nan's old cities lay.--[[User:Chen Xiangqiong|Chen Xiangqiong]] ([[User talk:Chen Xiangqiong|talk]]) 00:23, 14 December 2021 (UTC)&lt;br /&gt;
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Lord Wuhui holds weapons with his left hand and dinnerware in his right hand.Then he looks at a seal and graps it without seeing anything else.Lord Wuhui, whose first name is Cao, comes from Zhen Ding county. The place is so-called Shizhou now, on which ancient Jiangnan lay.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:07, 14 December 2021 (UTC)&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。&lt;br /&gt;
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Zhi Zhi Ge Wu- ''From The Book of Rites·Daxue'': &amp;quot;Zhizhi lies in Gewu, and after Gewu, knowledge arrives.&amp;quot; It means that in order to gain knowledge, one must inquire into the truth of things. Zhi: To acquire, to obtain.--[[User:Chen Xinyi|Chen Xinyi]] ([[User talk:Chen Xinyi|talk]]) 05:18, 12 December 2021 (UTC)&lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to the Zhou Dynasty;--[[User:Cheng Yang|Cheng Yang]] ([[User talk:Cheng Yang|talk]]) 13:11, 11 December 2021 (UTC)&lt;br /&gt;
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Ge: means deduction, exploration and discussion. Yao...Zhang──Yao, Shun, Yu, Tang, Wen, Wu, namely Tang Yao, Yu Shun, Xia Yu, Cheng Tang, Emperor Wen of Zhou Dynasty, Emperor Wu of Zhou Dynasty, they are all wise emperors from ancient times to Zhou Dynasty;--[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 12:13, 19 December 2021 (UTC)&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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Zhou, called the Duke of Zhou, and Zhao, called Duke of Shi, are both talented prime ministers (in feudal China); Kong (generally called Confucius) and Meng (generally called Mencius) are both founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Ding Xuan|Ding Xuan]] ([[User talk:Ding Xuan|talk]]) 07:19, 12 December 2021 (UTC)&lt;br /&gt;
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Zhou and Zhao are respectively the Duke of Zhou and the Duke of Shi and both are talented prime ministers of the Western Zhou Dynasty; both Kong (generally called Confucius) and Meng (generally called Mencius) are  founders of Confucianism; Dong (Dong Zhongshu in Han Dynasty), Han (Han Yu in Tang Dynasty), Zhou (Zhou Dunyi in the Northern Song Dynasty), Cheng (Cheng Jing and Cheng Yi brothers in the Northern Song Dynasty), Zhu (Zhu Xi in the Southern Song Dynasty), Zhang (Zhang Zai in the Northern Song Dynasty) are all Confucian theorists. --[[User:Du Lina|Du Lina]] ([[User talk:Du Lina|talk]]) 08:09, 12 December 2021 (UTC)&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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All these people are strong recommended by confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.&lt;br /&gt;
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All these people are strongly recommended by Confucianists such as Chi You(a mythological warrior engaged in fighting with the Yellow Emperor), Qin Hui (a traitor in the Song dynasty in Chinese history)and so on. Among them both Chi You and Gong Gong (the water god in ancient Chinses history and the devil of floods) are the most ferocious tribal chief in the Chinese legend;and all Xia Jie, Shang Zhou and Qin Shi Huang, being respectively the emperor Jie of Xia Dynasty，the emperor Zhou of Shang Dynasty and the first emperor of Qin Dynasty, are extremely tyrannical.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:13, 19 December 2021 (UTC)&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. It were Xu You... Zhao Yun -- Xu You who were said a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all prestigious persons  in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the mainstream thought.--[[User:Fu Hongyan|Fu Hongyan]] ([[User talk:Fu Hongyan|talk]]) 14:10, 19 December 2021 (UTC)&lt;br /&gt;
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Wang Mang, Cao Cao, Huan Wen, An Lushan and Qin Kuei, who were in the Han Dynasty, the Three Kingdoms, the Eastern Jin Dynasty, the Tang Dynasty and the Southern Song Dynasty respectively, were all great treacherous court officials and even traitors. Xu You... Zhao Yun -- Xu You. It is said that he was a sage who lived in seclusion all his life in order to escape the throne in ancient times. Tao Qian (Tao Yuanming), Ruan Ji, Ji Kang and Liu Ling were all famous writers in the Wei and Jin dynasties and mavericks who did not flow along with the turbid currents of the world.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 11:57, 19 December 2021 (UTC)&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and  Emperor Huizong of Song were all talented and romantic emperors.--[[User:Fu Shiyu|Fu Shiyu]] ([[User talk:Fu Shiyu|talk]]) 10:07, 12 December 2021 (UTC)&lt;br /&gt;
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The Two families of Wang and Xie, namely Wang Dao and Xie An, were both of the nobility in the Eastern Jin Dynasty. Gu Hutou, also known as Gu Kaizhi, was a famous painter in the Eastern Jin Dynasty. Emperor Chen Shubao of Chen, Emperor Ming of Tang and Emperor Huizong of Song were all talented and romantic emperors. --[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:02, 13 December 2021 (UTC)&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (courtesy name Tingzhi), Wen Feiqin refers orWen Tingyun (courtesy name Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (courtesy name Manqing), Liu Yaoqing, or Liu Yong (courtesy name Yaoqing), and Qin Shaoyou, or Qin Guan (courtesy name Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gao Mi|Gao Mi]] ([[User talk:Gao Mi|talk]]) 01:03, 13 December 2021 (UTC)&lt;br /&gt;
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Liu Tingzhi, or Liu Xiyi (styled Tingzhi), Wen Feiqin refers orWen Tingyun (styled Feiqing) are both famous poets of the Tang Dynasty. Mi Nangong, or Mi Fu (nickname Nangong), was a famous painter of the Northern Song Dynasty; Shi Manqing, or Shi Yannian (styled Manqing), Liu Yaoqing, or Liu Yong (styled Yaoqing), and Qin Shaoyou, or Qin Guan (styled Shaoyou), were famous literary scholars of the Northern Song Dynasty.--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:27, 15 December 2021 (UTC)&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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Ni Yunlin, i.e Ni Zan, was a famous painter in the Yuan Dynasty. Tang Bohu i.e Tang Yin (styled Bohu), Zhu Zhishan i.e Zhu Yunming (styled Zhishan), are famous Ming dynasty painters, litterateurs; Li Gunian (Tang Dynasty), Huang Fan Chuo (Tang Dynasty), Jing Xinmo (five dynasties later Tang dynasty), are famous artists;--[[User:Gong Boya|Gong Boya]] ([[User talk:Gong Boya|talk]]) 12:23, 15 December 2021 (UTC)&lt;br /&gt;
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Ni Yunlin, or Ni Zan, or Ni Yunlin, was a famous painter in the Yuan dynasty; Tang Bohu (or Tang Yin) and Zhu Zhishan (or Zhu Yunming) were famous painters and literary figures in the Ming dynasty; Li Guinian (of the Tang dynasty), Huang Fanchuo (of the Tang dynasty), and Jing Xinmo (of the post-Tang dynasty of the Five Dynasties) were all famous artists.--[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:39, 15 December 2021 (UTC)&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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Zhuo Wenjun (see the first chapter note), Hong Fu (she used to be as the servant of the Sui minister Yang Su, then eloping to Li Jing; she was also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (i.e. Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty. --[[User:He Qin|He Qin]] ([[User talk:He Qin|talk]]) 06:32, 15 December 2021 (UTC)&lt;br /&gt;
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Zhuo Wenjun ( the first chapter noted), Hong Fu (she used to be as the servant of the minister of Sui Dynasty Yang Su, then eloping to Li Jing,  also the heroine of ''The Legend of the Gnarled Man'' by Du Guangting), Xue Tao (a talented prostitute of the Tang Dynasty), Cui Ying (namely Cui Yingying of Yuan Zhen's ''The Book of Hui Zhen'' and  Wang Shifu's &amp;quot;The Western Chamber&amp;quot;), Zhaoyun (a famous prostitute of the Song Dynasty), they are all famous for their talent and beauty.--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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Success makes the Duke while failure makes the theif ——which means that, If one is successful, he will be worshipped as the Duke. While one is unsuccessful, he will be despised as the thief. It expresses that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Hu Shuqing|Hu Shuqing]] ([[User talk:Hu Shuqing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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The winner is Duke, the looser is theif means that the person who succeeded would be entitled like Duke and who failed would be dispised as a theif. It presents that there is no generally acknowledged truth in the world and people neglect justice and only pay attention to success and failure, that is, the sole measure. It coins a phrase here, “Failure makes a thief， success a king.”--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:58, 12 December 2021 (UTC)&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot;  Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an underlying to the prime minister Wang Dao's house for taking in a son-in-law, and Prime Minister Wang invite him to choose at will in the east wing.--[[User:Huang Jinyun|Huang Jinyun]] ([[User talk:Huang Jinyun|talk]]) 14:43, 12 December 2021 (UTC)&lt;br /&gt;
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It is cited from Deng Mu's How to Be Emperor, a work in Song dynasty, saying &amp;quot;how can the world be immutable! The loser is the thief, and the winner is the emperor.&amp;quot; Dongchuang refers to the son-in-law, used in Books of Jin: Wang Xizhi's Biography&amp;quot; and Liu Yiqing's &amp;quot;Shi Shuo Xin Yu · Elegance&amp;quot; (Southern Song dynasty): In Jin dynasty Tai Wei (supreme government official in charge of military affairs) Xijian sent an official to the prime minister Wang Dao's house choosing a son-in-law, and Prime Minister Wang invited him to choose at will in the east wing room.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 14:51, 12 December 2021 (UTC)&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Yiyan1|Huang Yiyan1]] ([[User talk:Huang Yiyan1|talk]]) 04:59, 12 December 2021 (UTC)&lt;br /&gt;
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The man looked over and saw that all the  lords of Wang family were very reserved, except Wang Xizhi, who was lying on the east bed and didn't care, showing his belly. In return, Xi Jian chose Wang Xizhi as his son-in-law. Later generations referred to the son-in-law with &amp;quot;East Bed&amp;quot;, &amp;quot;East Bed Man Showing Belly&amp;quot;, &amp;quot;East Bed Guest&amp;quot;, &amp;quot;East Bed Distinguished Guest&amp;quot; and so on.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:54, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。He retreat thirty miles. It describes retreating behind and not daring to compete with. Yishe: Thirty Li. The code of &amp;quot;retreat and give up&amp;quot; is used here.--[[User:Huang Zhuliang|Huang Zhuliang]] ([[User talk:Huang Zhuliang|talk]]) 13:53, 19 December 2021 (UTC)Huang Zhuliang&lt;br /&gt;
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--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 12:02, 19 December 2021 (UTC)&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
This story comes from ''Zuo Zhuan · Xi public twenty three years'': During the Spring and Autumn Period (777-476 BC), Childe Chong Er of the state of Jin went to the state of Chu. King Cheng of Chu gave a banquet for Chong er and asked, &amp;quot;If childe returns to the state of Jin, how will you repay me? Chong Er answered, &amp;quot;If I can return to the state of Jin, if the troops of the state of Jin and the state of Chu meet each other in the Central Plains, I will ask the troops of the state of Jin to retreat 90 li.--[[User:Jin Xiaotong|Jin Xiaotong]] ([[User talk:Jin Xiaotong|talk]]) 06:56, 12 December 2021 (UTC)&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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Then Childe Chong Er came back to his country as Emperor. In the battle of Jin and Chu in Chengpu (in southwest of Juancheng county in Shandong province), he keeps his promise, then the army of Jin actually retreated to avoid the war. &lt;br /&gt;
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Chapter 3&lt;br /&gt;
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Entrust cousin Ru Hai with recommendations of distinguished gusts; Accept granddaughter lady Dowager takes pity on orphan girl&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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Yue-ts'un, speedily looking back on, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had participated in the former case but been denounced and deprived of office, on account of some case or other. He was a native of that district, who had resided at home since his degradation. Having lately come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could to obtain influence, and to find the means of righting his position. When he, unexpectedly, came across Yue-ts'un, he offered offering his congratulations to him soon. The two friends greeted to each other, exchanging the conventional salutations, and Chang Ju-kuei forthwith passed on the information to Yue-ts'un.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:55, 15 December 2021 (UTC)&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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Yue-ts'un was delighted, but after he had made a few remarks in a hurry, each took his leave and sped on his own way homewards. After hearing this conversation,  Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to lay his hand on the Metropolitan Gazette, to ascertain whether the news was authentic or not. On the next day, he had a personal consultation with Ju-hai. &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; said by Ju-hai.--[[User:Li Ruiyang|Li Ruiyang]] ([[User talk:Li Ruiyang|talk]]) 04:57, 15 December 2021 (UTC)&lt;br /&gt;
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Yue-ts'un was delighted, but after he they made a short conversation, each of them stepped on their own way homewards. After hearing the words of Yue-ts'un, Leng Tzu-hsing hastened at once to propose a plan, advising Yue-ts'un to request Lin Ju-hai, then, in his turn, to appeal to Chia Cheng in the capital for support. Yue-ts'un accepted the suggestion, and took leave of him. Upon returning to the quarter, he made all haste to read the Metropolitan Gazette, to ascertain the authenticity of that news. On the next day, he made a personal consultation with Ju-hai. Thus, Ju-hai said, &amp;quot;Providence and good fortune are both alike propitious!&amp;quot; --[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 13:06, 15 December 2021 (UTC)&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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Since my wife has passed away, my mother-in-law has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shan|Li Shan]] ([[User talk:Li Shan|talk]]) 08:15, 11 December 2021 (UTC)&lt;br /&gt;
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Since my wife has passed away, my mother-in-law who lives in the capital worried that my daughter has no one to rely on. So she has long before dispatched servants and transporting boats here to fetch my lonely daughter. But she has not set off yet due to the fact that she had not fully recovered at that time. As she is in good condition now, I am considering sending her to her grandma's. Once you have taught my daughter but desired no handsome payment; while now you need help, how can I sit on the fence? I have already well prepared for that in advance --- a recommendation letter has been written to my brother-in-law, to ensure your success in career. Only in this way can I show my gratitude towards you.--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:43, 12 December 2021 (UTC)&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You don’t need to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Origin Merchant. My eldest brother is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.”--[[User:Li Shuang|Li Shuang]] ([[User talk:Li Shuang|talk]]) 07:38, 12 December 2021 (UTC)&lt;br /&gt;
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“As for the possible costs, I will explain in the letter. You needn’t to worry about it.” Yu Cun bent down and expressed his gratitude, asking: “What does your brother do now? I’m worried that I would take the liberty to pay a visit, it’s too hasty.” Ru Hai laughed and said: “My brother and your brother belong to the same family. They are both descendants of Ronggong. The eldest brother of my wife is now a first-class general, his name is Pardon Merchant, whose alternative given name is Enhou.” --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 23:46, 12 December 2021 (UTC)&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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“The second brother of my wife named Zheng, his style name is Cunzhou. He is the Yuanwai official of the Ministry of Works in feudal China. He is moderate and kind, has the dignity of his grandfather, and is not the flimsy type. Therefore, my brother sent a letter to me. Otherwise, I will not only pollute my brother's operation, but also despise my brother.” After hearing this, Yuchun had believed the words of Zixing yesterday, therefore, he thanked Lin Ruhai again. --[[User:Li Wenxuan|Li Wenxuan]] ([[User talk:Li Wenxuan|talk]]) 01:27, 12 December 2021 (UTC)&lt;br /&gt;
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The second brother-in-law is named Zheng, and the word is kept in Zhou. He is currently a member of the Ministry of Engineering. He is courteous and kind. He has a grandfather's legacy. He is not anointing and frivolous. Disdainful. &amp;quot;Yucun listened, and believed in Xing's words from yesterday, so he thanked Lin Ruhai again.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:12, 12 December 2021 (UTC)&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
Ruhai also said: &amp;quot;I chose the girl to enter the capital on the second day of the lunar month, and my brother will go the same way. Isn't it both convenient?&amp;quot; Yucun obeyed,and RuHai was very satisfied . Ruhai then took some gifts and walked away, and Yucun took them one by one. The girl student couldn't bear to leave her relatives, but his grandmother wanted to go there. She also said like the sea: &amp;quot;Your father is half a hundred years old, and there is no intention to remarry.--[[User:Li Wen|Li Wen]] ([[User talk:Li Wen|talk]]) 14:11, 12 December 2021 (UTC)&lt;br /&gt;
Ruhai said, &amp;quot;I chose the second day of the month to enter the capital, and my brother went the same way. Rain village obedient, the heart is very proud. Such as Haisui make gifts and farewell dinner, Rain village one by one. The girl could not bear to leave her, but her grandmother wanted her to go, saying, &amp;quot;Your father is fifty years old, and has no intention of staying in the house;--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:27, 19 December 2021 (UTC)&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
You are sick, you are young, you have no mother to nurse you, and no sisters to nurse you. Now I am going to my grandmother and my uncle and sisters, which will relieve my worries. Why not?&amp;quot; When Daiyu heard this, she said goodbye with tears and followed the wet nurse and some old women in the Rong House to the boat. Yucun had another boat with two children attached to Daiyu.--[[User:Li Xinxing|Li Xinxing]] ([[User talk:Li Xinxing|talk]]) 12:25, 19 December 2021 (UTC)&lt;br /&gt;
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And you are sick, very young, no mother to raise, no sister support. Today I go to rely on my grandmother and uncle's sisters, just to reduce my internal worries, how not to go? Dai Yu listened, and Fang shed tears to say goodbye, and followed the grandmother and several old women in the Rong Mansion to board the boat. There was another boat in the rain village, with two children, who were attached to Daiyu.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 12:29, 19 December 2021 (UTC)&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At this time Jia Zheng had seen his brother-in-law's letter, immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others.--[[User:Li Yi|Li Yi]] ([[User talk:Li Yi|talk]]) 08:18, 11 December 2021 (UTC)&lt;br /&gt;
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One day, when YuCun arrived in Jingdou, he dressed himself, and went to Rongfu with his nephew's name card. At the very moment that Jia Zheng had received  his brother-in-law's letter, he immediately invited him to come in to meet. Yucun looked tall and handsome and talked well. And Jia Zheng most like scholar, courtesy, saving, great predecessors style; Therefore, Jia Zheng is very good to Yucun. He is different from others--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:39, 19 December 2021 (UTC)&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同&lt;br /&gt;
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They tried to help, the day of the title, sought a reinstatement. Within two months, he was elected to Jinling Yingtianfu, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu abandoned her boat and landed on the shore that day, she was served by a sedan chair sent by the Rongfu and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Peiting|Liu Peiting]] ([[User talk:Liu Peiting|talk]]) 12:40, 19 December 2021 (UTC)&lt;br /&gt;
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They sought to a position the day that he presented a petition to the throne. Within two months, he was elected to Jinling Mansion, resigned from Jia Zheng, and left for his post on a certain day. Now, when Daiyu disembarked that day, she was served by a sedan chair sent by the Rong Mansion and a luggage cart. Daiyu heard from her mother that her grandmother's family was different from others.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 12:44, 19 December 2021 (UTC)&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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In the past few days, she has been deeply impressed by the food, clothing and behavior of the low- ranking attendants who accompanied her. She decided that in their new home, she must always be vigilant and carefully weigh every word so as not to be ridiculed for any stupid mistake. When she carried into the city, she peeped out through the gauze window on her chair at the bustling and crowded streets, which she had never seen before.--[[User:Liu Shengnan|Liu Shengnan]] ([[User talk:Liu Shengnan|talk]]) 08:32, 11 December 2021 (UTC)&lt;br /&gt;
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The three-class servants she had seen recently have an extraordinary cost of food and clothing. What's more, since got on the sedan chair and entered the city, the prosperous market and the populousness of the city through the screen window were not comparable to other places. when coming to grandmother's mansion must pay attention to every step and be cautious with words so as not to be ridiculed by others. Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:56, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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After half day, there are two large stone lions squatting on the north side of the street, three gates decorated with beast head, and a dozen people in gorgeous crowns and clothes are sitting in front of the gate. The main gate is closing, only the east and west corners enterences are accessible. There is a plaque above the main gate with five big characters &amp;quot;Ningguo Mansion&amp;quot;.  &amp;quot;That must be grandfather's the first son's mansion.&amp;quot;Daiyu thought.  --[[User:Liu Wei|Liu Wei]] ([[User talk:Liu Wei|talk]]) 15:39, 12 December 2021 (UTC)Liu Wei&lt;br /&gt;
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After another half-day walk, they came to a street with two huge stone lions crouching on the north side and three gates decorated with beast head, in front of which ten or more people in gorgeous crowns and clothes were sitting. The main gate was shut, with only people passing in and out of the other two smaller gates. On a board above the main gate was written in big characters &amp;quot;Ningguo Mansion Built at Imperial Command&amp;quot;. Daiyu realized that this must be where the elder branch of her grandmather's family lived.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:40, 13 December 2021 (UTC)&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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A little further to the west they came to another three gates. This was the Rong Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Xiao|Liu Xiao]] ([[User talk:Liu Xiao|talk]]) 05:09, 12 December 2021 (UTC)&lt;br /&gt;
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Not far to the west is the same three-room gate, which is the Rongguo Mansion. Instead of going through the main gate, they entered the one on the west. The bearers carried the chair a bow-shot further, and then set it down at the turning and withdrew, the maidservants now going down the chair. Another four seventeen or eighteen smartly dressed lads picked up the chair, followed by the maids.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:26, 12 December 2021 (UTC)&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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When the palanquin was dropped in front of a pendant door, the attendants all retired in silence. The ladies came forward and raised the curtain of the palanquin and helped Daiyu out of the palanquin. The two sides of the door are overhand corridors, and the centre is a hall with a marble screen on a rosewood frame. Turning past the screen, there is a small three-room hall.--[[User:Liu Yue|Liu Yue]] ([[User talk:Liu Yue|talk]]) 07:22, 12 December 2021 (UTC)&lt;br /&gt;
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After the palanquin was dropped in front of a floral-pendant gates, the attendants all retreated in silence. The maids came forward and drew the curtain of the palanquin to help Black Jade out of the palanquin. Holding the hands of those maids, Black Jade enter the floral-pendant gates. On the two sides of the door were Chaoshou veranda, and in the center was a vestibule with a marble screen in a rosewood frame. Past the screen, there were three small rooms. --[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 13:01, 19 December 2021 (UTC)&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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Behind the banqueting hall was the courtyard of the principal rooms: the five principal rooms on the front all had carved beams and painted rafters; from the roof of the verandah on both sides, the cages of parrots, thrushes and various birds hung there. A few girls in red and green sat on the steps. Saw they coming, the girls all smiled and came up: “Just now grandma was taking about you. You arrived just in time.” Then they rushed to pull the curtain. From the other side, a man said: “Miss Lin is coming.”--[[User:Liu Yunxin|Liu Yunxin]] ([[User talk:Liu Yunxin|talk]]) 12:28, 19 December 2021 (UTC)&lt;br /&gt;
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Behind the hall was the courtyard of the central house: five principal rooms in the front with carved beams, while along two sides corridors and chambers with colorfully painted birds as parrots and thrush. There were several maids in red and green sitting on the steps. Seeing visitors coming, they greeted them with smiles, saying, &amp;quot;The old lady just talked about you again and again in anticipation, and here you are.&amp;quot; then the four maids scrambled to open the curtain. Meanwhile a man said, &amp;quot;Miss Lin is coming.&amp;quot;--[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:47, 19 December 2021 (UTC)&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
An silver-haired old lady supported by two maids came and welcomed her while Black Jade entered the room. Realizing that this was her grandmother, Black Jade was about to bow down to show her respects. Suddenly she was tightly hugged by grandmoa who crying out harrowingly &amp;quot;my sweet heart!&amp;quot; Servants and maids were all in tears, and Black Jade also sobbed unceasingly. People persuaded them softly, then Black Jade was able to pay her respects to her grandmother. --[[User:Luo Anyi|Luo Anyi]] ([[User talk:Luo Anyi|talk]]) 12:14, 19 December 2021 (U&lt;br /&gt;
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As Dai Yu just came to the home, there came a silver-haired old woman.Dai Yu knew she was grandma, and as she was going to bow down to show her respect, she has been already hugged by her grandma, who cried:&amp;quot;my sweety!&amp;quot;. The surrounding maids all cried, as well as Dai Yu. The crowds slowy persuade her, and Dai Yu then showed her respect to her grandma.--[[User:Luo Xi|Luo Xi]] ([[User talk:Luo Xi|talk]]) 14:01, 19 December 2021 (UTC)&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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Baoyu's grandmother than introduce them respectively:&amp;quot;This is your eldest aunt, and this is your second aunt.This is your Zhu brother's wife. Dai Yu greet them one by one.Baoyu's grandmother than said that:&amp;quot;Invite the gilrs. Today here come the dear guest, so they don't need to go to school.&amp;quot; Surrounding people said yes, and two of them left.&lt;br /&gt;
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The Lady Dowager then introduced them respectively to Daiyu: &amp;quot;This is your eldest aunt, and this is your second uncle's wife. This is your deceased elder brother Zhu's wife.&amp;quot; Daiyu greeted them one by one. Her grandmother then said: &amp;quot;Tell all the girls to come here. We have visitor who came from afar, so they don't need to go to school.&amp;quot; Surrounding people answered yes, and two of them left to call them.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 07:22, 20 December 2021 (UTC)&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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After a while, the three young ladies showed up, escorted by three wet nurses and five or six maids. The first was slightly plump and of medium height; her cheeks were as smooth and soft as the newly ripened lichees, and her nose was as glossy as goose fat. She was tender and reticent, and looked very affable. The second had drooping shoulders and a slender waist; she was tall and slim, with an oval face, bright and piercing eyes as well as delicate eyebrows. She seemed elegant, quick-witted and in high spirits, with a display of distinctive charm. People who looked at her were to forget everything vulgar and tawdry.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 23:42, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three young ladies were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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Once she died before me, I could not see her again. She said, taking Daiyu's hand, and cried again. Everyone was busy trying to console her, and soon she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although her health was weak, she had graceful and elegant manner, so they knew that she had a disease of deficiency.--[[User:Mao You|Mao You]] ([[User talk:Mao You|talk]]) 08:43, 11 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;Once she died before me, it is so sad that I could not see her again.&amp;quot; she said, taking Daiyu's hand, and cried again. Everyone was trying to console her, and then she slightly stopped. They saw that although Daiyu was young, her manner and speech were not ordinary; although she was weak, she had graceful and elegant gestures, so they learned that she had a disease of deficiency.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:35, 12 December 2021 (UTC)&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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They then asked, &amp;quot;What medicines do you take regularly? Why can't you cure your illness?&amp;quot; Daiyu said, &amp;quot;I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous docters cannot contribute to my illness. I was only three years old when I remember a mangy monk came and said he wanted to convert me to a monk, but my parents refused.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:29, 13 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to part with her she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such crazy talk.--[[User:Peng Ruixue|Peng Ruixue]] ([[User talk:Peng Ruixue|talk]]) 06:24, 13 December 2021 (UTC)&lt;br /&gt;
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The monk said, &amp;quot;if you can't bear to separate with her, she'll probably nerver get well. The only remedy is to keep her from hearing weeping and from seeing any relatives apart from her father and mother. That's her only hope of having a quiet life.&amp;quot; No one paid any attention, of course, to such nonsense talk.--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 12:12, 19 December 2021 (UTC)&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills.And Grandma Jia said:&amp;quot; What a coincidence! The pills are making now, I just tell them to add one.&amp;quot; The words have not been finished, but there is a laugh in the back yard, which said:&amp;quot; I come late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: all people here are holding their breath, who is this person that is so arrogant and rude?--[[User:Qing Jianan|Qing Jianan]] ([[User talk:Qing Jianan|talk]]) 08:19, 11 December 2021 (UTC)&lt;br /&gt;
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Now Lin Daiyu is still taking ginseng pills. And Grandmother Jia said:&amp;quot; It just so happens that I have been asking them to dispense the pills, just asking them to do one more portion.&amp;quot; The words are not  finished, but there is a laugh in the back yard, which said:&amp;quot; I am late and fail to welcome our distinguished guest.&amp;quot; Daiyu thought: “all people here are holding their breath, who is this person that is so arrogant and rude?”--[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:33, 12 December 2021 (UTC)&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学）女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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While Lin Daiyu is still thinking about it, a group of daughters-in-law and maids cluster around a beauty coming in from the back room. She dresses up differently from other girls, with colorful embroidery splendor, and looks like a divine concubine or a fairy: wearing a gold silk beads bun decorated with eight treasures and the five phoenix hairpin hanging with beads on the head; a red gold coiled chi dragon tassel ring around the neck; the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and the outer coat with decorations of the multicolored engraved silk stone green silver mouse.  --[[User:Qiu Tingting|Qiu Tingting]] ([[User talk:Qiu Tingting|talk]]) 09:34, 12 December 2021 (UTC)&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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Wang Xifeng, characterized by a pair of phoenix triangle eyes and two curved willow hanging eyebrows, wore an emerald flowered crepe skirt. She was slender and coquettish, with a delicate face and a smiling lip. Daiyu promptly rose quickly to greet her. Lady Dowager said with a smile: “ you don’t know him. He is famous for her fierceness and toughness, namely the so-called Nanjing chilli. So you can just call him ‘Chilli Feng’.”--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:48, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，叫做王熙凤学名。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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Daiyu was insensible of what to call her. Then her sisters told her promptly: “ this is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang, named scientifically Wang Xifeng, was brought up as a male offspring since childhood. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Shi Liqing|Shi Liqing]] ([[User talk:Shi Liqing|talk]]) 12:32, 11 December 2021 (UTC)&lt;br /&gt;
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Daiyu didn't know what to call her. Then her sisters told her promptly: “This is your sister-in-law Lian Er.” Although Daiyu had never met her, she heard of her from his mother: Jia Lian, the son of her Uncle Jia She, had married the niece of Aunt Wang.She was brought up as a male offspring since childhood and her academic name is Wang Xifeng. Daiyu was engaged in smiling and saluting at her, calling her “sister-in-law”.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:55, 13 December 2021 (UTC)&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked up and down her carefully, then she sent her to Mother Jia's side to sit down.She laughed and said:&amp;quot;There is really such a beautiful person in the world!I didn't see her until today.Moreover,the style of her makes her be more like your son's daughter than your daughter's daughter.It's no wonder that you are concerned about her so much.--[[User:Sun Yashi|Sun Yashi]] ([[User talk:Sun Yashi|talk]]) 01:49, 13 December 2021 (UTC)&lt;br /&gt;
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Taking Daiyu's hand, Xifeng looked her up and down carefully, then sent her to Mother Jia's side to sit down. She laughed and said:&amp;quot;There is really such a beautiful person in the world! I haven’t seen her until today. Moreover, her extraordinary temperament makes her be more like your son's daughter rather than your daughter's daughter. It's no wonder that you are concerned about her so much. --[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 06:48, 13 December 2021 (UTC)&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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I pity my sister for being so miserable, how could my aunt died so early?&amp;quot; She said, wiping her tears with her handkerchief. Grandma Jia laughed and said, &amp;quot;I've just recovered. You come to provoke me again. Your sister has just arrived from a long journey and is weak, so she has just been persuaded: Don't mention it again.&amp;quot;--[[User:Wang Lifei|Wang Lifei]] ([[User talk:Wang Lifei|talk]]) 02:37, 12 December 2021 (UTC)&lt;br /&gt;
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I pity my sister who is so miserable, how could my aunt have died?&amp;quot; She said, wiping her tears with her handkerchief. Your sister has only just arrived from a long journey and is weak, so she has only just been persuaded to stop talking about it.&amp;quot;--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:22, 11 December 2021 (UTC)&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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The first time I saw my sister, I was all over him, and I liked him, and I was sad, and I forgot about my ancestors. You should be beaten, you should be beaten!&amp;quot; He also took Daiyu's hand and asked, &amp;quot;How old is my sister? How old is she? What kind of medicine do you take now? Don't be homesick here.--[[User:Wang Yifan21|Wang Yifan21]] ([[User talk:Wang Yifan21|talk]]) 08:21, 11 December 2021 (UTC)&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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Just tell me what you want to eat and play; Girls and old servants are not good, just tell me. &amp;quot; Daiyu nodded one by one. On one side, Xifeng asked, &amp;quot;have you moved in Miss Lin's things? How many people have you brought? Clean the two rooms early and tell them to have a rest.&amp;quot;--[[User:Wang Zhenlong|Wang Zhenlong]] ([[User talk:Wang Zhenlong|talk]]) 06:54, 12 December 2021 (UTC)&lt;br /&gt;
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Tell me what you want to eat and play; And if the maids or old nurses aren't good to you, just let me know. &amp;quot; Daiyu nodded one by one. At the same time, Xifeng asked, &amp;quot;Have Miss Lin's things been moved in? And how many people does she bring? Clean the two rooms as soon as possible and tell them to have a rest there.&amp;quot;--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 08:24, 12 December 2021 (UTC)&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her whether the monthly payment has been given out, she answered yes. “I looked for the satin in the back stairs with some people for hours just now, but didn’t find which madam mentioned yesterday. Madam must be wrong.” Wang Xifeng said, and Mrs. Wang answered, “ It doesn’t matter if there is or not.”--[[User:Wei Yiwen|Wei Yiwen]] ([[User talk:Wei Yiwen|talk]]) 07:45, 12 December 2021 (UTC)&lt;br /&gt;
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Fruits and tea had been prepared when Xifeng was talking, and she arranged them by herself. The second aunt asked her, &amp;quot;Have the monthly payment been given out?&amp;quot; Xifeng answered, &amp;quot;Yes. And I looked for the satin in the back stairs with some people for hours just now, but didn’t find what madam mentioned yesterday. Madam mabey remember something wrong.” Mrs. Wang replied, “ It doesn’t matter if there is or not.”--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 09:03, 12 December 2021 (UTC)&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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Mrs. Wang said, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this matter in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I expected it. I knew my sister would arrive in these two days, and I had already made preparations. I will send someone for the satin as soon as you have returned and examined it.&amp;quot;--[[User:Wei Chuxuan|Wei Chuxuan]] ([[User talk:Wei Chuxuan|talk]]) 08:52, 12 December 2021 (UTC)&lt;br /&gt;
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Mrs. Wang added, &amp;quot;You should take out a couple of satin pieces to cut your sister's dress. When you think of this in the evening, send someone for the satin .&amp;quot; Xifeng said, &amp;quot;I have expected it. I know my sister will arrive in these two days, and I have already made preparations. I will send someone for the satin as soon as you have examined it.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:58, 12 December 2021 (UTC)&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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Her Ladyship smiled, nodded and said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two nurses to take Daiyu to see her two uncles. At this time, Mrs. She also immediately stood up, replied with smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wei Zhaoyan|Wei Zhaoyan]] ([[User talk:Wei Zhaoyan|talk]]) 13:51, 11 December 2021 (UTC)&lt;br /&gt;
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Her Ladyship smiled, nodded but  said nothing. Now the refreshments were cleared away and the Lady Dowager ordered two mothers to take Daiyu to see her two uncles. At this time, Mrs. She immediately stood up, replied with a smile, &amp;quot;it's also very convenient for me to take my niece.&amp;quot;--[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:37, 12 December 2021 (UTC)&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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Jiamu laughed and said: “ Yeah, you can also leave, and don’t have to come here.” Ms. Xing promised, and said goodbye to Ms Wang with Daiyu, all of them went through the hallway. The ingenious green carriage, which drove by a group of manservants stood in front of the floral-pendant gates, Ms. Xing set in the car with Daiyu, several old mothers put down the car shade, instructing boys uplift the carriage. --[[User:Wu Jingyue|Wu Jingyue]] ([[User talk:Wu Jingyue|talk]]) 08:35, 12 December 2021 (UTC)&lt;br /&gt;
The mother laughed and said, &amp;quot;Exactly, you also go, no need to come.&amp;quot; That Mrs. Xing agreed, so took Daiyu, and Mrs. Wang to say goodbye, we sent to the wear hall. The tent green oil carriage in front of the flower gate, Mrs. Xing took Daiyu to sit on it, the wives put down the curtain, and ordered the boys to lift it.--[[User:Wu Yinghong|Wu Yinghong]] ([[User talk:Wu Yinghong|talk]]) 01:13, 13 December 2021 (UTC)&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
Pulled to a wide place, driving on the tame mule, out of the west corner gate to the east, past the main gate of Rongfu, into a black-painted gate, to the front of the ceremony door down the car. Mrs. Xing took Daiyu's hand and entered the courtyard. The first thing you need to do is to get to the garden.&lt;br /&gt;
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Then he took the mule，went out the west Corner gate to the east, passed the main gate of Rongfu, entered a black painted gate, and got off in front of Yi gate. Lady Xing took Daiyu's hand and entered the courtyard. Daiyu spent its place must be the garden in the rong mansion partition come over.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:38, 15 December 2021 (UTC)&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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When we entered the three-story ceremonial gate, the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in colourful makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xiao Yiyao|Xiao Yiyao]] ([[User talk:Xiao Yiyao|talk]]) 01:02, 15 December 2021 (UTC)&lt;br /&gt;
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When entering the three- layers ceremonial gate, Daiyu found that the main room, wing room and verandah were all small and unique, unlike those of the other side. Besides, the trees, mountains and stones in the courtyard were all good. When they entered the main room, there were many concubines and servant girls dressed in heavy makeup and beautiful clothes waiting for them. Madam Xing asked Daiyu to sit down and then let others invite Jia She in the outer study.--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:10, 19 December 2021 (UTC)&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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Mrs.Xing came back and said, &amp;quot;the master said, 'I've been felt not so good for days. I am afraid that I will be emotional if I see you, so I can't bear to see you for the time being. I advise you not to be homesick. It's the same as home to follow the old lady and aunt. Although the sisters are clumsy, you can relieve some boredom if you keep company together. If you have grievances, just tell us and make yourself at home.''--[[User:Xie Jiafen|Xie Jiafen]] ([[User talk:Xie Jiafen|talk]]) 12:07, 19 December 2021 (UTC)&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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Mrs. Xing said: “That’s fine.” So she ordered two Sisters to send Daiyu back by Carriage used before. So Daiyu farewell others. Mrs. Xing saw her off and said some words to others, seeing the carriage come back and forth. Once Daiyu entered The House of Rong and got off the carriage, she saw a long and wide road.&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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Led by the mammy, she turned east, passed through an east-west hall, and came to the south hall, where she found a large courtyard inside the Gate of Yi: five main rooms on the top, flanks on both sides, and deer's roof and ears, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Xu Minyun|Xu Minyun]] ([[User talk:Xu Minyun|talk]]) 09:10, 18 December 2021 (UTC)&lt;br /&gt;
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Led by the mammies, they turned eastward and passed through an east-west hallway and the southward hall, she found a large courtyard inside the secondary gate: five main rooms on the top, flanks on both sides, and a small flat topped house next to the main house, extending in all directions, magnificent and different from other places. Daiyu knew this was the inner room.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 10:08, 18 December 2021 (UTC)&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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Entering the main room, I looked up and saw a great blue board framed in gilded dragons. On the plaque, there were two big words &amp;quot;Rongxi hall&amp;quot;; Then there is a line of small characters: &amp;quot;on a certain date, this was given to Jia Yuan, the Duke of Honor&amp;quot;, and there was the treasure of Emperor's handwriting. On the large red sandalwood table that carved with dragon, there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Jing|Yan Jing]] ([[User talk:Yan Jing|talk]]) 08:11, 18 December 2021 (UTC)&lt;br /&gt;
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there was a green bronze tripod more than three feet high, hanging a large ink dragon painting that seemed to attend the imperial court session in the early morning, with gilded wine vessels on one side and a glass basin on the other.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 12:05, 19 December 2021 (UTC)&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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On the ground two rows of 16 nanmu armchairs. There is also a pair of couplets, ebony couplet inset with gold handwriting, it said:The pearl and jade in the seat can shine with the sun and the moon; The people in front of the lobby wearing official clothes, its colors like clouds like clouds. The next line is written by mu Shis, the hereditary king of Dongpyeong County, who is a brother who has been taught by your family for generations.For Lady Wang often sat and reposed not in this main room, but in the three eastern rooms.--[[User:Yan Lili|Yan Lili]] ([[User talk:Yan Lili|talk]]) 03:36, 12 December 2021 (UTC)&lt;br /&gt;
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Since Lady Wang seldom sat in this main hall but used three rooms on the east side for relaxation.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 10:04, 14 December 2021 (UTC)&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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So that the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides， stood one of a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yan Zihan|Yan Zihan]] ([[User talk:Yan Zihan|talk]]) 09:48, 14 December 2021 (UTC)&lt;br /&gt;
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Thereupon,the nurses led Daiyu through the door of the eastern wing. The large kang by the window was covered with a scarlet foreign rug. In the middle were red back-rests and turquoise bolsters, both with dragon-design medallions, and a long greenish yellow mattress also with dragon medallions.  On the two sides stood on a pair of small teapoys of foreign lacquer of plum-blossom pattern. On the left-hand table were a tripod, spoons, chopsticks and an incense container;  On the right-hand table were a slender-waisted porcelain vase from the Ruzhou Kiln in which were placed seasonable flowers.--[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:47, 14 December 2021 (UTC)&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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On the floor on the west side of the room, were four chairs in a row, all of which were covered with antimacassars, embroidered with silverish-red flowers.Beneath them stood four footstools. On either side, was also a pair of high teapoys which were covered with teacups and flower vases.The rest of the room need not be described in detail.&lt;br /&gt;
The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions. --[[User:Yang Jiaying|Yang Jiaying]] ([[User talk:Yang Jiaying|talk]]) 13:42, 14 December 2021 (UTC)&lt;br /&gt;
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On the floor facing on the west wall were four chairs in a row, all of which were covered with ornamented cloth embroidered with silverish-red flowers.Beneath them stood four footstools. On either side were a pair of high table with teacups and flower vases.Other decorations in the rest of the room need not be described in detail.The nurses urged Daiyu to sit on the kang, on the edge of which were two brocade cushions.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:50, 18 December 2021 (UTC)&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately. When she was sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Aijiang|Yang Aijiang]] ([[User talk:Yang Aijiang|talk]]) 09:38, 18 December 2021 (UTC)&lt;br /&gt;
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Considering her status in the family, Daiyu sat on one of the chairs on the east side instead of sitting on the ''kang''. The maids in attendance served tea immediately.Sipping the tea, she observed the maids’ make-up,clothes and deportment, which, her thought, were indeed quite different from those in other families.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 14:18, 18 December 2021 (UTC)&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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Before the tea was drunk, a servant girl wearing a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again and went to the third small main room on the east porch.--[[User:Yang Kun|Yang Kun]] ([[User talk:Yang Kun|talk]]) 03:33, 12 December 2021 (UTC)&lt;br /&gt;
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Before they drank tea over, a servant girl in a red silk jacket and a green satin vest came up and smiled, &amp;quot;Mrs. Wang invited Miss Lin to come and sit over there.&amp;quot; When the old Mammy heard this, she led Daiyu out again to the third small main room on the east porch.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:10, 12 December 2021 (UTC)&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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On the kang there was a kang table on which books and tea sets piled up. Half new backrests and pillows made of blue satins were set on the east side of the wall. However, Mrs. Wang set at the foot of the west wall where half new backrests and mattresses made of blue satins were displayed. Mrs. Wang moved to the east side when she saw Lin Daiyu come in.--[[User:Yang Liuqing|Yang Liuqing]] ([[User talk:Yang Liuqing|talk]]) 11:11, 12 December 2021 (UTC)&lt;br /&gt;
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On the kang lies a kang table,on which books and tea sets are piled up. Half new backrests and pillows made of blue satins were put on the east side of the wall. However, Mrs. Wang sat at the foot of the west wall where half new backrests and mattresses made of blue satins are displayed. Mrs. Wang moved to the east side when she saw Daiyu coming in.--[[User:Ye Weijie|Ye Weijie]] ([[User talk:Ye Weijie|talk]]) 12:11, 19 December 2021 (UTC)&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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Daiyu thought it must be Jia Zhen's seat. Seeing that there were half-old bouncing chair blankets on the three chairs slid by the kang, Daiyu sat on the chair. Mrs. Wang repeatedly asked him to go to the kang, then she sat down next to Mrs. Wang. Mrs. Wang said: &amp;quot;Your uncle has gone fast today, goodbye.&lt;br /&gt;
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Daiyu thought that this was Jia Zheng's seat, because she saw that there were three chairs next to the bed with a half-used chair, so Daiyu sat down on the chair. She sat down next to Madam Wang after she had asked her to go to the bed again and again. Mrs. Wang said, &amp;quot;Your uncle went to fast today, see you later.”--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 12:29, 19 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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I just have one thing to tell you: your three sisters are all very good, and in the future they will study and learn to read and write together, and learn to sew, or occasionally play jokes, but all of them will do their best. There is only one thing I am not sure about: I have a sinful child who is the evil one in my family, and he has not returned yet because he has gone to the temple to pay his respects.--[[User:Yi Yangfan|Yi Yangfan]] ([[User talk:Yi Yangfan|talk]]) 02:19, 13 December 2021 (UTC)Yi Yangfan&lt;br /&gt;
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I just want to remind you: your sisters are very kind , and in the future you will study together, and learn to read and write and learn to sew. Sometimes you will play jokes at each other, but you will be very tolerant to each other. There is only one thing I am worried about: there is a naughty boy in our family, and he has not returned yet because he has gone to the temple to redeem his wishes, you will see him in the evening.--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:45, 13 December 2021 (UTC)&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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“You can ignore him later and none of your sisters dare to bother him. ” Daiyu heard from her mother: “I have a nephew, who was born with jade in his mouth. He is very naughty and don’t like to read, but prefer to play with girls. His grandma has always spoiled him so that everyone let him be. ”--[[User:Yin Huizhen|Yin Huizhen]] ([[User talk:Yin Huizhen|talk]]) 07:27, 13 December 2021 (UTC)&lt;br /&gt;
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&amp;quot;You can ignore him in future because none of your sisters dare to mess up with him&amp;quot;. Mascara Jade  has long heard from her mother about him: &amp;quot;I have a nephew, born with a jade in his mouth, who is very naughty and doesn’t like to read, but prefers to hang around with girls. His grandma has always spoiled him so that everyone let him be&amp;quot;. --[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 12:31, 19 December 2021 (UTC)&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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What Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is the person you just mentioned my cousin born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Meida|Yin Meida]] ([[User talk:Yin Meida|talk]]) 14:27, 12 December 2021 (UTC)&lt;br /&gt;
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Who Lady King described today is the cousin for sure. Mascara Jade said while smiling:&amp;quot; Is this my cousin you just mentioned born with a jade? I remember when I was at home my mother often said that the cousin nicknamed Precious Jade is one year older than me. Although he is a little mischievous, he is very friendly with his sisters&amp;quot;.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
&lt;br /&gt;
Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know. Unlike the others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Yin Yuan|Yin Yuan]] ([[User talk:Yin Yuan|talk]]) 15:30, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Now I come here,undoubtfully I live with my sisters. The brothers are in some different houses. Is there any reason to mess with them?&amp;quot; Lady King smiled and said, &amp;quot;You don't know the reason. Unlike others, he had been coddled by his sisters since he was young for the love of Grandma Merchant.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 03:20, 15 December 2021 (UTC)&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
&lt;br /&gt;
若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
&lt;br /&gt;
“If the sisters ignore him, he is a bit quieter: if one day the sisters talk to him more, he is so happy that he will stir up many troubles: so I tell you to ignore him. He may talk sweetly for a while, and he may be crazy and silly for a while, just don't believe him.” Daiyu replied one by one.--[[User:Zhan Ruoxuan|Zhan Ruoxuan]] ([[User talk:Zhan Ruoxuan|talk]]) 08:45, 13 December 2021 (UTC)&lt;br /&gt;
If the sisters ignore him, he will be quiet; if one day they talk to him more, he will be happy, and many things will happen: so I tell you to ignore him. His mouth a sweet talk, a moment there is no day, crazy and silly, just do not believe him. Daiyu agreed one by one.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 12:06, 19 December 2021 (UTC)&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
Suddenly see a servant girl to say: &amp;quot;old lady there spread supper.&amp;quot; Lady Wang and Daiyu went out of the back door, leading from the back corridor to the west and out of the corner gate. There was a north-south corridor, with three small rooms in the south, a big screen wall of powder and oil in the north, and a small house with a half gate behind.--[[User:Zhang Qiuyi|Zhang Qiuyi]] ([[User talk:Zhang Qiuyi|talk]]) 13:53, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Suddenly a servant girl said, &amp;quot;the old lady has passed on dinner.&amp;quot; Lady King hurriedly took Mascara Jade Pearl out of the back door, from the back porch to the west, out of the corner door. It is a North-South corridor. In the south is the inverted three small balcony halls. In the north is a oil-powdered large shadow wall, followed by a half gate and a small house.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 12:28, 13 December 2021 (UTC)&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard,there were also a few young boys on the door of this courtyard, all standing with their hands down.. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.&lt;br /&gt;
&lt;br /&gt;
==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhang Yiran|Zhang Yiran]] ([[User talk:Zhang Yiran|talk]]) 00:57, 13 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So they entered the back room, where many people were already waiting, and when they saw  Lady King coming, they placed the table and chairs; Li, wife of Treasure Merchant, held the cup,  Lady King placed the chopsticks, and Splendid Phoenix King drank the soup. Grandma Merchant was sitting alone on a couch, flanked by four empty chairs. Splendid Phoenix King was busy pulling Mascara Jade Forest to sit in the first chair on the left, but Mascara Jade Forest was too embarrassed to sit.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 03:42, 13 December 2021 (UTC)&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunt and sister-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Jia Mu ordered Mrs. Wang to sit down. The three sisters of Yingchun sat down：Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yifei|Zhong Yifei]] ([[User talk:Zhong Yifei|talk]]) 10:36, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Mrs. Jia said with a smile, &amp;quot;your aunts and sisters-in-law don't eat here. You are a guest. You should have sat here.&amp;quot; Daiyu then sat down. Mrs. Jia ordered Mrs. Wang to sit down. The three sisters of Yingchun were asked to sit down: Yingchun sat first on the right hand, Tanchun second on the left, and Xi Chun second on the right.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 02:02, 12 December 2021 (UTC)&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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Standing at the table, the servant girls held the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhong Yulu|Zhong Yulu]] ([[User talk:Zhong Yulu|talk]]) 01:55, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The servant girls are standing at the table with the horsetail whisks, vessels for mouthwash and handkerchiefs. Li Wan and Wang Xifeng sent dishes, refreshments to guests and invited them to eat. Though there were many servant girls in the outer room, they could not be heard to utter a sound. When the meal was over, each servant girl brought tea with a small tray. The daughter of Lin Ruhai, Lin Daiyu took tea after each meal to keep health and not hurt her spleen and stomach.--[[User:Zhou Jiu|Zhou Jiu]] ([[User talk:Zhou Jiu|talk]]) 09:23, 13 December 2021 (UTC)&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home. She was also easy-going. After receiving the tea, someone else took a gargle bowl for her. Daiyu also rinsed her mouth and finished washing her hands again. Then tea which was for drinking was brought in. Then Mother Jia said to servants , &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Now Daiyu saw many rules here are not like the rules of her home.  She can only be easygoing. She caught the teacup. Some domestics came over with a mouthwash basin. Daiyu gargled and washed her hands. Then the servant brought back tea, and this was tea for drinking.Then Grandma Merchant said to servant, &amp;quot;You all go and let's have a talk in our own comfort.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 10:47, 13 December 2021 (UTC)&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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Lady Wang stood up and said something idle, then led Lady Li and Splendid Phoenix King to leave. When Grandma Merchant asked Daiyu what books she had read, Daiyu replied, &amp;quot;I just have read the ''Four Books''.&amp;quot; When Daiyu asked her sisters what books they read, Grandma Merchant said, &amp;quot;They don't read anything. They only know a few words.&amp;quot;--[[User:Zhou Junhui|Zhou Junhui]] ([[User talk:Zhou Junhui|talk]]) 09:25, 13 December 2021 (UTC)&lt;br /&gt;
Madame Wang rose as soon as she heard these words, and having made a few irrelevant remarks, she led the way and left the room along with the two ladies, Mrs. Li and lady Feng.Dowager lady Chia, having inquired of Tai-yue what books she was reading, &amp;quot;I have just begun reading the Four Books,&amp;quot; Tai-yue replied. &amp;quot;What books are my cousins reading?&amp;quot; Tai-yue went on to ask. &amp;quot;Books, you say!&amp;quot; exclaimed dowager lady Chia; &amp;quot;why all they know are a few characters, that's all.&amp;quot;--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 13:15, 15 December 2021 (UTC)&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
&lt;br /&gt;
The sentence was barely out of her lips, when a continuous sounding of footsteps&lt;br /&gt;
was heard outside, and a waiting maid entered and announced that Pao-yue was&lt;br /&gt;
coming. Tai-yue was speculating in her mind how it was that this Pao-yue had&lt;br /&gt;
turned out such a good-for-nothing fellow, when he happened to walk in.&lt;br /&gt;
He was, in fact, a young man of tender years, wearing on his head, to hold his&lt;br /&gt;
hair together, a cap of gold of purplish tinge, inlaid with precious gems.&lt;br /&gt;
Parallel with his eyebrows was attached a circlet, embroidered with gold, and&lt;br /&gt;
representing two dragons snatching a pearl.&lt;br /&gt;
--[[User:Zhou Qiao1|Zhou Qiao1]] ([[User talk:Zhou Qiao1|talk]]) 08:36, 13 December 2021 (UTC)&lt;br /&gt;
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&lt;br /&gt;
After a word, only a sound of footsteps outside, the maid came in and reported: &amp;quot;Baoyu is here.&amp;quot; Daiyu thought to herself: &amp;quot;This Baoyu, I don't know what a tired lazy person.&amp;quot; When she came in, she was a young man. He wears a purple and gold crown with hair inlaid on his head, and his forehead are tied with gold frontlet（The shape is two dragons playing with pearled）.--[[User:Zhou Qing|Zhou Qing]] ([[User talk:Zhou Qing|talk]]) 15:21, 11 December 2021 (UTC)&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; it wears small green satin and powder-soled boots. The face is as round and beautiful as the moon of Mid-Autumn Festival, the complexion is like a flower of spring dawn; the temples are like a knife cut, the eyebrows are like ink painting, the nose is like a hanging gall, and the eyes are like autumn waves.&lt;br /&gt;
&lt;br /&gt;
A big red arrow sleeve decorated with two-color golden butterfly flowers, is tied with multicolored silk and knotted with long spikes, and is covered with azurite and satin rowed gowns; he wore small green satin and powder-soled boots. The face is as round and beautiful as the moon at mid-autumn, the complexion is like a flower of in spring; the temples as if chiselled with a knife, the eyebrows are like ink painting, the nose is like a a well-cut and shapely nose, and the eyes are like vernal waves.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:19, 13 December 2021 (UTC)&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
&lt;br /&gt;
His angry look even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of variegated silk, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked.&amp;quot;How very strange.&amp;quot; she was reflecting in her mind; &amp;quot;it would seem as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back,&amp;quot; remarked her venerable ladyship.--[[User:Zhou Xiaoxue|Zhou Xiaoxue]] ([[User talk:Zhou Xiaoxue|talk]]) 06:08, 13 December 2021 (UTC)&lt;br /&gt;
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&lt;br /&gt;
His angry look somentimes even resembled a smile; his glance was full of sentiment.Round his neck he had a gold dragon necklet with a fringe; also a cord of silk of five colours, to which was attached a piece of beautiful jade. When Daiyu saw this, she was shocked and thought to herself: &amp;quot;How strange it is.&amp;quot; she was reflecting in her mind; &amp;quot;as if I had seen him somewhere or other, for his face appears extremely familiar to my eyes;&amp;quot; Baoyu greeted Lady Dowager &amp;quot;Go and see your mother and then come back.&amp;quot;--[[User:Zhu Suzhen|Zhu Suzhen]] ([[User talk:Zhu Suzhen|talk]]) 11:46, 16 December 2021 (UTC)&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
&lt;br /&gt;
Then turned around and went. He has changed the crown band when coming back for a while: the short hair around the head is braided, the red silk ends, and the hair is gathered up to the top of the fetus. The chief editor is a big braid, black and shiny, from top to tip , A string of four large beads, with gold eight treasures falling to the feet; wearing a silver-red half-old coat with flowers; still wearing collars, gems, locks, amulets, etc.;&lt;br /&gt;
&lt;br /&gt;
He turned away. When he came back later, he had changed his crown belt: the short hair around his head was braided, and the red silk ended. He saved up to the top and middle fetal hair. The chief editor had a big braid, black and bright as paint, a string of four big beads from the top to the tip, and dropped his feet with gold eight treasures; He was wearing a silver red flower sprinkled semi-old coat; Still wearing collars, precious jade, name sending locks, amulets, etc--[[User:Zou Yueli|Zou Yueli]] ([[User talk:Zou Yueli|talk]]) 12:56, 16 December 2021 (UTC)&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
His lower body showed loose green flower pants, cotton socks and a pair of thick soled red shoes. This makes him look more beautiful. The lips seem to have been powdered with rouge; When he speaks, he often has a smile on his face, and his eyebrows can convey affection. A person's style and temperament, including what he thinks, can be conveyed through his eyes. His appearance is very good-looking, but I don't know whether he has real connotation.&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
&lt;br /&gt;
无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
Seeking sorrow and hate for no reason, sometimes seems stupid and crazy.&lt;br /&gt;
&lt;br /&gt;
==Mariam toure 2020GBJ002301==&lt;br /&gt;
&lt;br /&gt;
纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
&lt;br /&gt;
I'm not able to get through general affairs, and I'm afraid of reading articles.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
He who behaves in a perverse way has no control over the slander of course.--[[User:Atta Ur Rahman|Atta Ur Rahman]] ([[User talk:Atta Ur Rahman|talk]]) 03:29, 14 December 2021 (UTC)&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
&lt;br /&gt;
又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
It is also known that wealth does not know pleasure and happiness, and poverty cannot endure loneliness.&lt;br /&gt;
&lt;br /&gt;
==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
&lt;br /&gt;
可怜辜负好时光，于国于家无望。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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English; the author is to give some suggestion to playboys of high official that they do not follow the example of Jia Baoyu.&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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But she said that Mother Jia saw him come in and smiled: &amp;quot;The foreigner took off her clothes without seeing him, so she won't go to see your sister.&amp;quot;&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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Baoyu had already seen a daughter with a gentle posture, thought might be the daughter of Aunt Lin, then hurried to meet her.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 04:17, 13 December 2021 (UTC)&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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When I look at you carefully, I think you are different.--[[User:AkiraJantarat|AkiraJantarat]] ([[User talk:AkiraJantarat|talk]]) 09:59, 13 December 2021 (UTC)&lt;br /&gt;
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When I returned to take a closer look, it was really different. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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I saw two bends like the frowning of smoked eyebrows, at first they seemed happy but not really happy, yet affectionate eyebrows. --[[User:Benjamin Wellsand|Benjamin Wellsand]] ([[User talk:Benjamin Wellsand|talk]]) 07:41, 12 December 2021 (UTC)&lt;br /&gt;
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I saw: two curved eyebrows that looked like a frown, a pair of eyebrows that seemed to be happy or not. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:18, 12 December 2021 (UTC)&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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The sorrow of the two distresses, the disease of the whole body. --[[User:Asep Budiman|Asep Budiman]] ([[User talk:Asep Budiman|talk]]) 23:17, 12 December 2021 (UTC)&lt;br /&gt;
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The sorrow of two distresses, spoiled - the disease of the whole body.------Ei Mon Kyaw [[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:15, 15 December 2021 (UTC)Ei Mon Kyaw&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;br /&gt;
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Tears shone a little, and she breathed slightly.--[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)Ei Mon Kyaw  -----Ei Mon Kyaw[[User:EIMONKYAW|EIMONKYAW]] ([[User talk:EIMONKYAW|talk]]) 09:47, 15 December 2021 (UTC)&lt;br /&gt;
The tears droped, and she breathed slowly. --[[User:Mahzad Heydarian|Mahzad Heydarian]] ([[User talk:Mahzad Heydarian|talk]]) 11:58, 15 December 2021 (UTC)&lt;br /&gt;
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The eyes twinkled with tears and she breathed slightly.--[[User:Chen Jing|Chen Jing]] ([[User talk:Chen Jing|talk]]) 12:18, 19 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132546</id>
		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132546"/>
		<updated>2021-12-14T01:10:19Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
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马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1997:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993:170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Nida Eugene, A. (1945). Linguistics and Ethnology in Translation-Problems[J]. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Nida Eugene, A. (1964). ''Toward a Science of Translating''[M]. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, I. (1978). The Position of Translated Literature within the Literary Polysystem[A]. ''Literature and Translation''[C]. J.S. Holmes, J. Lambert &amp;amp; R. Van Den Brock. Leuven: ACCO, 117-127.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, H., &amp;amp; Varga, M, A. (Eds). (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''[M]. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, A. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''[M]. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, M. H. (2007). ''The Facts on File Dictionary of Proverbs''[M]. New York: Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, W. (2009). ''International Bibliography of Paremiology and Phraseology''[M]. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, N. R. (2015). 1 Subject Area, Terminology, Proverb Definitions, Proverb Features[M]//In Introduction to Paremiology. De Gruyter Open Poland, 7-27.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, J. (1987). Proverbs and Social History [A]. ''The Social History of Language''[M]. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, J. S. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu)''[M]. University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, M., &amp;amp; Cowie, M. (1997). ''Dictionary of Translation Studies''[C]. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, L. (1995). ''The Translator's Invisibility''[M]. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Wilson F.P. (1997). ''The Oxford Dictionary of English Proverbs''[M]. Oxford: Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming 寇福明. (2007). 汉英谚语对比研究[D] A Contrastive Study of Chinese and English Proverbs. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展 [A] The Development of Buddhist Culture in China Based on Buddhist Idioms. 语言与文化多学科研究[C] Multidiscipilinary Studies of Language and Culture. 北京语言学院出版社 Beijing: Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli, Yang Zijian 刘艳丽, 杨自俭. (2002). 也谈“归化”与“异化”[J] On “Domestication” and “Foreignization”. 中国翻译 Chinese Translation Journal(06): 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, J. S. 罗圣豪. (2003). 论汉语谚语[J] On Chinese Proverbs. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01): 62-70.&lt;br /&gt;
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*Qiu Nengsheng, Qiu xiaoqin 邱能生, 邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微[J] Foreignization vs. Domestication in Cross-cultural Idiom Translation.上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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*Sun Zhili 孙致礼. (2002). 中国的文学翻译:从归化趋向异化[J] Chinese Literary Translation: from Domestication to Foreignization. 中国翻译 Chinese Translation Journal(01): 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋?[J] About Domestication and Foreignization.中国翻译 Chinese Translation Journal(05): 26-28.&lt;br /&gt;
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*Wen Duanzheng 温端政. (2011). 中国谚语大辞典[M] Dictionary of Chinese Proverbs. 上海辞书出版社 Shanghai: Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Limitations and Suggestions for Future Study */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1997:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993:170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
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There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
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In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
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===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.&lt;br /&gt;
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As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
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==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
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*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
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*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
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*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
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*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
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*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
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*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
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*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
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*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
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*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
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*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
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*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
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*Wilson F.P. (1997). The Oxford Dictionary of English Proverbs. 3 vols. Oxford University Press.&lt;br /&gt;
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*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
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*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
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*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
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*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
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*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
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*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Proverb Translation about Religious Culture */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1997:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993:170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
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There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
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In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Wilson F.P. (1997). The Oxford Dictionary of English Proverbs. 3 vols. Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
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*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
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		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132515</id>
		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132515"/>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Proverb Translation about Social Culture */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1997:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Wilson F.P. (1997). The Oxford Dictionary of English Proverbs. 3 vols. Oxford University Press.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
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There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
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In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
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===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
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There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
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As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
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*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
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*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
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*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Proverb Translation about Social Culture */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132326</id>
		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132326"/>
		<updated>2021-12-13T15:06:53Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* Proverb Translation about Material Culture */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
&lt;br /&gt;
All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Proverb Translation about Ecology */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
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马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
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*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
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		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132318"/>
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		<summary type="html">&lt;p&gt;Ma Xin: /* The Translation Studies about Proverbs */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
&lt;br /&gt;
All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<summary type="html">&lt;p&gt;Ma Xin: /* The Translation Studies about Proverbs */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
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马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
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*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132309</id>
		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132309"/>
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		<summary type="html">&lt;p&gt;Ma Xin: /* The Translation Studies about Proverbs */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.&lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
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In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
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===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
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*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
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*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
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*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
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*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
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*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
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*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Assimilation vs. Alienation and Domestication vs. Foreignization */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002:20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977:74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964:159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an &amp;quot;ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;. (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
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There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
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In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
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===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
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There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
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As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
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==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995:20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007:ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997:59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945:196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
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*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
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*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
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*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
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*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
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There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
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*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
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		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=132257"/>
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		<summary type="html">&lt;p&gt;Ma Xin: /* 中文摘要 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
&lt;br /&gt;
Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;br /&gt;
Corrected by:--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 14:37, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=132241</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=132241"/>
		<updated>2021-12-13T14:41:24Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng（2006：124） stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao（2011：189-190）’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang（2012：159-160） analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
'''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
'''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study.''' &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
'''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
&lt;br /&gt;
====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
&lt;br /&gt;
====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
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====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
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====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
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====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
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====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
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====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
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====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
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====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
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====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
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====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
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=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
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====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
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====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
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====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
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====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
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====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
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====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
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====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
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====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
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====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
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====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
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====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
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====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
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====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
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====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
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====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
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====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
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====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
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====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
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====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
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====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
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====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
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====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
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====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
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====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
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====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
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====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
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====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
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====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
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====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
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====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
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====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
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====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
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====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
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====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
&lt;br /&gt;
====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
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===References===&lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*Wang Baoqin 汪宝琴. (2012). 从目的论看游戏名称的英译汉策略 [The EtoC tranlastion strategies of names of games from skopo theory]. 海外英语 [Overseas English].&lt;br /&gt;
*Xiao Zhiyan 肖志艳. (2011). 游戏名称翻译的目的论视角研究 [A study on the translation of names of games from the approach of skopo theory]. 咸宁学院学报 [Journal of Xianning University].&lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Zheng Guozheng 郑国政. (2006). 软件本地化翻译质量面面观 [The aspects of the quality of the translation of softwares]. 科技资讯 [Science&amp;amp;Technology Information]. &lt;br /&gt;
Suggestion: you can find more prestigious academic journals or books to quote in this paper.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:48, 11 December 2021 (UTC)&lt;br /&gt;
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Corrected by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:41, 13 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=131279</id>
		<title>Comp Stud Trans EN 5</title>
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		<updated>2021-12-12T13:17:57Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:05, 12 December 2021 (UTC)&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:17, 12 December 2021 (UTC)&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
&lt;br /&gt;
All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
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*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:17, 12 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
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马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
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作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合奈达的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识，从而在比较中体味文化的差异。--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:05, 12 December 2021 (UTC)&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of ''The Translator’s Invisibility: A History of Translation''. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the latter puts stress on the writer as well as the culture of source language to keep the original meaning even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:17, 12 December 2021 (UTC)&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
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There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequalities between the source language and target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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Secondly, it’s about domestication and foreignization that arose later than the distinction above. The two terms were first put forward by Lawrence Venuti in his work ''The Translator’s Invisibility'' in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:33, 12 December 2021 (UTC)&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization that had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is not only a simply conversion among all kinds of languages but also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and chose different methods in different historical periods. In terms of future research trends, we need to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplemented by domestication if necessary.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:42, 12 December 2021 (UTC)&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us to explore so many mysteries in languages.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC) &lt;br /&gt;
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So far, studies about proverbs collected in ''Introduction to paremiology: A Comprehensive Guide to Proverb Study'' (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will focus on the comparative and contrastive studies between Chinese and Western proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb“out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example. There is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence of it in one of ancient Chinese proverbs named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all knowledge that we obtain from the interaction with the world is passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 05:54, 12 December 2021 (UTC)&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer to the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the above two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inherited from Chinese farming culture and western marine civilization respectively also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:04, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the concept could be replaced by rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:17, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs.&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead, both domestication and foreignization methods should be applied for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision is explained in ''The Oxford Dictionary of English Proverbs'' (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s not appropriate to translate them based on literal meaning of the proverb and then find a substitute in Chinese proverbs.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:23, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different languages but fails to convey the tiny cultural diversities among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that“beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:12, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. One limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes by, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the contemporary times because of the advance of science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need to further distinguish them from those appeared earlier.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 06:27, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Written by: --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 13:16, 12 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=131053</id>
		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=131053"/>
		<updated>2021-12-11T14:52:09Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.&lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
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There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
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In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
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===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
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As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
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==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
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*Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
*Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
*Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
*Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
*Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
*Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
*Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
*Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
*Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
*Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
*Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
*Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
*Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
*Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=131052</id>
		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
&lt;br /&gt;
All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131051</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131051"/>
		<updated>2021-12-11T14:48:50Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
'''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
'''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study.''' &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
'''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
&lt;br /&gt;
====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
&lt;br /&gt;
====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
&lt;br /&gt;
====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
&lt;br /&gt;
====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
&lt;br /&gt;
====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
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====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
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====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
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====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
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====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
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====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
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=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
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====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
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====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
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====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
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====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
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====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
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====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
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====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
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====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
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====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
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====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
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====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
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====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
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====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
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====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
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====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
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====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
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====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
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====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
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====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
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====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
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====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
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====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
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====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
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====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
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====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
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====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
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====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
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====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
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====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
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====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
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====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
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====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
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====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
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====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
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====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;br /&gt;
&lt;br /&gt;
Suggestion: you can find more prestigious academic journals or books to quote in this paper.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:48, 11 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131050</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131050"/>
		<updated>2021-12-11T14:42:58Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* The comparative analyse of examples */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
'''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
'''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study.''' &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
'''Suggestion: it's perhaps better to summarize the translation of terms into 3 types mentioned above and give each one a more detailed analysis.'''--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:42, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
&lt;br /&gt;
====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
&lt;br /&gt;
====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
&lt;br /&gt;
====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
&lt;br /&gt;
====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
&lt;br /&gt;
====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
&lt;br /&gt;
====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
 &lt;br /&gt;
====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
&lt;br /&gt;
====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
&lt;br /&gt;
====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
&lt;br /&gt;
====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
&lt;br /&gt;
=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
&lt;br /&gt;
====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
&lt;br /&gt;
====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
&lt;br /&gt;
====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
&lt;br /&gt;
====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
&lt;br /&gt;
====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
&lt;br /&gt;
====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
&lt;br /&gt;
====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
&lt;br /&gt;
====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
&lt;br /&gt;
====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
&lt;br /&gt;
====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
&lt;br /&gt;
====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
 &lt;br /&gt;
====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
&lt;br /&gt;
====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
&lt;br /&gt;
====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
&lt;br /&gt;
====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
&lt;br /&gt;
====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
&lt;br /&gt;
====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
&lt;br /&gt;
====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
&lt;br /&gt;
====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
&lt;br /&gt;
====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
&lt;br /&gt;
====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
&lt;br /&gt;
====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
&lt;br /&gt;
====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
&lt;br /&gt;
====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
&lt;br /&gt;
====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
&lt;br /&gt;
====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
&lt;br /&gt;
====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
&lt;br /&gt;
====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
&lt;br /&gt;
====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
&lt;br /&gt;
====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
&lt;br /&gt;
====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
&lt;br /&gt;
====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
&lt;br /&gt;
====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
&lt;br /&gt;
====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
&lt;br /&gt;
====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
&lt;br /&gt;
====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
&lt;br /&gt;
====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
&lt;br /&gt;
====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131049</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131049"/>
		<updated>2021-12-11T14:37:13Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* The compare of Chinese and Japanese translations */&lt;/p&gt;
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&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
'''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
'''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study.''' &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
Suggestion: put those titles in the appendix, not in the main body of the paper. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
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===The comparative analyse of examples===&lt;br /&gt;
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In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
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====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
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====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
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====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
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====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
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====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
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====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
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====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
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====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
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====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
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====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
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====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
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====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
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====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
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====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
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====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
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====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
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====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
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====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
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=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
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====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
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====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
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====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
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====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
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====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
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====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
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====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
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====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
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====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
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====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
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====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
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====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
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====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
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====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
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====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
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====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
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====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
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====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
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====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
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====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
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====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
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====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
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====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
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====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
&lt;br /&gt;
====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
&lt;br /&gt;
====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
&lt;br /&gt;
====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
&lt;br /&gt;
====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
&lt;br /&gt;
====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
&lt;br /&gt;
====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
&lt;br /&gt;
====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
&lt;br /&gt;
====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
&lt;br /&gt;
====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
&lt;br /&gt;
====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
&lt;br /&gt;
====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131048</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131048"/>
		<updated>2021-12-11T14:35:58Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* Introduction */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
'''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
'''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study.''' &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
Suggestion: put those titles in the appendix, not in the main body. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
&lt;br /&gt;
====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
&lt;br /&gt;
====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
&lt;br /&gt;
====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
&lt;br /&gt;
====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
&lt;br /&gt;
====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
&lt;br /&gt;
====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
 &lt;br /&gt;
====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
&lt;br /&gt;
====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
&lt;br /&gt;
====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
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====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
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=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
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====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
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====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
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====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
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====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
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====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
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====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
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====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
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====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
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====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
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====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
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====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
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====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
 &lt;br /&gt;
====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
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====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
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====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
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====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
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====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
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====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
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====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
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====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
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====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
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====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
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====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
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====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
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====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
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====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
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====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
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====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
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====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
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====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
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====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
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====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
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====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
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====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
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====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
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===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131047</id>
		<title>Comp Stud Trans EN 4</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* The compare of Chinese and Japanese translations */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
'''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
'''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study.''' &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
Suggestion: put those titles in the appendix, not in the main body. it is also better to analyze one or two terms in detail.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:35, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
&lt;br /&gt;
====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
&lt;br /&gt;
====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
&lt;br /&gt;
====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
&lt;br /&gt;
====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
&lt;br /&gt;
====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
&lt;br /&gt;
====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
 &lt;br /&gt;
====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
&lt;br /&gt;
====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
&lt;br /&gt;
====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
&lt;br /&gt;
====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
&lt;br /&gt;
=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
&lt;br /&gt;
====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
&lt;br /&gt;
====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
&lt;br /&gt;
====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
&lt;br /&gt;
====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
&lt;br /&gt;
====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
&lt;br /&gt;
====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
&lt;br /&gt;
====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
&lt;br /&gt;
====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
&lt;br /&gt;
====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
&lt;br /&gt;
====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
&lt;br /&gt;
====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
 &lt;br /&gt;
====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
&lt;br /&gt;
====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
&lt;br /&gt;
====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
&lt;br /&gt;
====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
&lt;br /&gt;
====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
&lt;br /&gt;
====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
&lt;br /&gt;
====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
&lt;br /&gt;
====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
&lt;br /&gt;
====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
&lt;br /&gt;
====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
&lt;br /&gt;
====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
&lt;br /&gt;
====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
&lt;br /&gt;
====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
&lt;br /&gt;
====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
&lt;br /&gt;
====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
&lt;br /&gt;
====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
&lt;br /&gt;
====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
&lt;br /&gt;
====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
&lt;br /&gt;
====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
&lt;br /&gt;
====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
&lt;br /&gt;
====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
&lt;br /&gt;
====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
&lt;br /&gt;
====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
&lt;br /&gt;
====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
&lt;br /&gt;
====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
&lt;br /&gt;
====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
&lt;br /&gt;
====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131046</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131046"/>
		<updated>2021-12-11T14:31:58Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* Introduction */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
'''--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)'''&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
'''--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study.''' &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
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====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
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====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
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====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
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====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
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====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
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====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
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====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
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====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
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====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
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====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
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====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
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=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
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====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
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====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
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====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
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====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
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====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
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====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
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====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
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====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
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====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
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====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
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====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
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====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
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====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
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====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
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====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
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====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
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====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
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====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
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====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
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====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
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====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
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====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
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====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
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====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
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====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
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====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
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====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
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====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
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====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
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====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
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====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
&lt;br /&gt;
====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
&lt;br /&gt;
====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
&lt;br /&gt;
====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
&lt;br /&gt;
====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131045</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131045"/>
		<updated>2021-12-11T14:30:59Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* Introduction */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggestion:&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
--you can use one or two sentences to show the specific status of LOL compared with other games. (most-played #)&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
--the key point of this part is to show the multicultural concept blended in LOL, so foreignization and domestication should be taken into consideration in the process of translating the leagend's titles. What is important is that you need to add relative research of translation  in order to polish this study. &lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng '''(# year, page)''' stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s  '''(# year, page)''' study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang  '''(# year, page)''' analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
&lt;br /&gt;
====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
&lt;br /&gt;
====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
&lt;br /&gt;
====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
&lt;br /&gt;
====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
&lt;br /&gt;
====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
&lt;br /&gt;
====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
 &lt;br /&gt;
====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
&lt;br /&gt;
====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
&lt;br /&gt;
====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
&lt;br /&gt;
====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
&lt;br /&gt;
=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
&lt;br /&gt;
====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
&lt;br /&gt;
====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
&lt;br /&gt;
====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
&lt;br /&gt;
====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
&lt;br /&gt;
====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
&lt;br /&gt;
====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
&lt;br /&gt;
====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
&lt;br /&gt;
====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
&lt;br /&gt;
====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
&lt;br /&gt;
====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
&lt;br /&gt;
====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
 &lt;br /&gt;
====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
&lt;br /&gt;
====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
&lt;br /&gt;
====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
&lt;br /&gt;
====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
&lt;br /&gt;
====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
&lt;br /&gt;
====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
&lt;br /&gt;
====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
&lt;br /&gt;
====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
&lt;br /&gt;
====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
&lt;br /&gt;
====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
&lt;br /&gt;
====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
&lt;br /&gt;
====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
&lt;br /&gt;
====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
&lt;br /&gt;
====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
&lt;br /&gt;
====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
&lt;br /&gt;
====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
&lt;br /&gt;
====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
&lt;br /&gt;
====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
&lt;br /&gt;
====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
&lt;br /&gt;
====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
&lt;br /&gt;
====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
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====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
&lt;br /&gt;
====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
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===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131041</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131041"/>
		<updated>2021-12-11T14:14:23Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* Key Words */&lt;/p&gt;
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&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
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《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
Suggestion: try to be more specific. Chinese translation, Japanese translation and comparative study are all too general in nature. --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:14, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
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Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
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====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
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====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
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====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
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====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
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====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
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====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
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====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
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====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
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====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
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====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
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====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
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====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
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====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
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====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
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====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
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====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
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====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
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=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
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====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
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====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
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====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
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====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
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====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
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====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
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====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
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====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
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====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
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====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
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====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
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====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
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====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
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====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
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====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
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====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
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====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
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====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
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====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
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====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
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====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
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====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
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====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
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====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
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====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
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====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
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====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
&lt;br /&gt;
====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
&lt;br /&gt;
====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
&lt;br /&gt;
====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
&lt;br /&gt;
====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
&lt;br /&gt;
====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
&lt;br /&gt;
====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
&lt;br /&gt;
====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
&lt;br /&gt;
====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131040</id>
		<title>Comp Stud Trans EN 4</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_4&amp;diff=131040"/>
		<updated>2021-12-11T14:11:33Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* Abstract */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''A Comparative Study on Chinese and Japanese Translation of Legends' Titles in League of Legends 朱壬铎202120081560'''&lt;br /&gt;
&lt;br /&gt;
《英雄联盟》英雄称号的中日翻译对比研究.朱壬铎 Zhu Renduo. Hunan Normal University. China&lt;br /&gt;
&lt;br /&gt;
[[Comp_Stud_Trans_EN_4]]&lt;br /&gt;
===Abstract===&lt;br /&gt;
League of Legends (LOL) is one of the most popular video games in the world. Until November,2021, there are 157 legends that were published in game. In the translation of the titles of legends in China and Japan, there are some similarities but also many differences. The article tries to analyze some specific examples and to summarize these points.&lt;br /&gt;
&lt;br /&gt;
Suggestions: instead of introducing League of Legends, you can also write something about the relative research background about the study of legends's titles in translation. Besides, there are of course many similarities and differences about the topic in China and the West and you need to explain what point does this paper focus on. Additionally, the research questions and results are not clear so far in this part.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 14:11, 11 December 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key Words===&lt;br /&gt;
League of Legends; Chinese Translation; Japanese Translation; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
League of Legends is one of most-played MOBA video games in the world. LOL was made by Riot Games in the USA and published in 2009. It became popular in the North America rapidly and was published into Europe in no time. Besides NA and EU, there are many servers in other regions such as China, Vietnam, South East Asia, etc. According to Leaguefeed.net, from November 2020 to November 2021, the peak players in a day reached over 10 million, and the average monthly players reached over 110 million. Compare with other games, Leaguefeed.net says that the number of average monthly players of DOTA2 is only 1/10 of LOL, and the number of average daily players is only 1/50 of LOL. When it comes to CS:GO, the number of average monthly players is about 2.6 million, which is only 1/4 of LOL. We can say without any doubt, that League of Legends is the No.1 PC games in the world.&lt;br /&gt;
&lt;br /&gt;
The ideas of the design of legends crossed many countries and cultures. Such as ‘The Sheriff of Piltover’ that comes from the old west of America, ‘The Monkey King’ that comes from the traditional Chinese fiction, Journey to the West, ‘Ninjas’ that comes from Japanese culture, ‘The Mad Chemist’ and ‘The Plague Rat’ comes from European history. The game itself represents an aspect of cross-cultural communication. Nowadays in a globalizing world, the cross-cultural communication is becoming more and more often, in which translation plays a very important part. A good translation can make receivers understand the meaning immediately and show the beauty of foreign culture in the same time. In the translation of cross-cultural communication, localization is the important part. If compare the localization strategies which is used in different culture or language in cross-cultural communication with another culture, the understanding of the compared cultures could be deepened.&lt;br /&gt;
&lt;br /&gt;
Many studies on translation of game started with the localization of software. But most of those studies analyze the process of software localization from the approach of technology. Zheng stated a series of strategies of localized translation of games from the approaches of the localization standards of the translation of technology and software. In Xiao’s study of translation of game in cross-cultural communication she stated that ‘The translation of game is not only a transformation of language, but also a commercial activity.’ Besides, Wang analyzed the four values in the name of games, which are value of information transmission, the value of culture, the value of aesthetic, and the value of business. She also explained how to fulfill those four values in the translation of the name of games. Today’s studies in the translation of League of Legends are mostly the evaluation of the existing translation and the exploration of translation strategies through the approach of localization. Besides those studies are limited in Chinese language, some of them compared the simplified Chinese translation in mainland with the Traditional Chinese translation in Taiwan Province. But the comparation with another whole different language can not be seen by now. Therefore this article is aiming to compare the translation of legends’ titles of League of Legends between simplified Chinese and Japanese, through which to explore the similarities and differences between the selection of Chinese and Japanese translation strategies.&lt;br /&gt;
&lt;br /&gt;
===Generality of the translation in China and Japan===&lt;br /&gt;
Nowadays more and more games were translated into Chinese and are welcomed among the players. The Chinese server of LOL was formally published in 2011. After the publishment, once Riot roll out a new legend, Chinese server will follow up and translate the legend’s name, title and lines. When it came to Japan it was the year of 2017. Since then 4 years has past. With Japanese gaming club DFM getting into the S11 world finals, we can see a bright future of the spreading of the game in Japan. &lt;br /&gt;
&lt;br /&gt;
With LOL getting more and more popular around the world, Chinese studiers sees its studying value in cross-cultural communication. Zhang(2013) stated that trans-creation plays an important role in localized translation of games. He also said that in order to make sure that source language fit in target language and to improve the acceptability of the game in the market of target language, translator must take the strategy of trans-creation to change the information or scene in order to weaken the cultural differences on custom and concept. Liu(2019) stated that the level of localized translation has far-reaching influence on the developing of the game, since which the quality and efficiency of the translation can be improved by building terminology databases and corpus. Dai(2019) discussed the general strategies and methods of the translation of games and summarized the technique of the translation of games that in order to reach the goal of cross-cultural communication. Yuan(2020) stated that in the process of the localization of game texts, the re-creation is profit oriented when making choices in translation is principle oriented.&lt;br /&gt;
&lt;br /&gt;
===The compare of Chinese and Japanese translations===&lt;br /&gt;
No.	English titles	Simplified Chinese	Japanese&lt;br /&gt;
&lt;br /&gt;
1.	the Minotaur	牛头酋长	ミノタウロスの戦士&lt;br /&gt;
&lt;br /&gt;
2.	the Dark Child	黑暗之女	闇の申し子&lt;br /&gt;
&lt;br /&gt;
3.	the Frost Archer	寒冰射手	氷の射手&lt;br /&gt;
&lt;br /&gt;
4.	the Ancient Fear	远古恐惧	古の恐怖&lt;br /&gt;
&lt;br /&gt;
5.	Grandmaster at Arms	武器大师	最強の武器使い&lt;br /&gt;
&lt;br /&gt;
6.	the Righteous	正义天使	天空の正義&lt;br /&gt;
&lt;br /&gt;
7.	the Wuju Bladesman	无极剑圣	ウージューの剣客&lt;br /&gt;
&lt;br /&gt;
8.	the Fallen	堕落天使	堕天の高潔&lt;br /&gt;
&lt;br /&gt;
9.	the Boy and His Yeti	雪原双子	少年とイエティ&lt;br /&gt;
&lt;br /&gt;
10.	the Rune Mage	符文法师	ルーンの魔導師&lt;br /&gt;
&lt;br /&gt;
11.	The Undead Juggernaut	亡灵战神	不死身の重戦車&lt;br /&gt;
&lt;br /&gt;
12.	the Battle Mistress	战争女神	戦場の女王&lt;br /&gt;
&lt;br /&gt;
13.	the Starchild	众星之子	星の子&lt;br /&gt;
&lt;br /&gt;
14.	the Swift Scout	迅捷斥候	俊足の斥候&lt;br /&gt;
&lt;br /&gt;
15.	the Yordle Gunner	麦林炮手	ヨードルの主砲&lt;br /&gt;
&lt;br /&gt;
16.	the Card Master	卡牌大师	不敗のイカサマ師&lt;br /&gt;
&lt;br /&gt;
17.	the Uncaged Wrath of Zaun	祖安怒兽	解き放たれたゾウンの激憤&lt;br /&gt;
&lt;br /&gt;
18.	the Mad Chemist	炼金术士	マッドケミスト&lt;br /&gt;
&lt;br /&gt;
19.	the Chronokeeper	时光守护者	時の番人&lt;br /&gt;
&lt;br /&gt;
20.	Agony's Embrace	痛苦之拥	苦悶の抱擁&lt;br /&gt;
&lt;br /&gt;
21.	the Barbarian King	蛮族之王	孤高の蛮王&lt;br /&gt;
&lt;br /&gt;
22.	the Plague Rat	瘟疫之源	黒死のドブネズミ&lt;br /&gt;
&lt;br /&gt;
23.	the Deathsinger	死亡颂唱者	死を歌う者&lt;br /&gt;
&lt;br /&gt;
24.	the Sad Mummy	殇之木乃伊	めそめそミイラ&lt;br /&gt;
&lt;br /&gt;
25.	the Terror of the Void	虚空恐惧	未知なる恐怖&lt;br /&gt;
&lt;br /&gt;
26.	the Cryophoenix	冰晶凤凰	氷の不死鳥&lt;br /&gt;
&lt;br /&gt;
27.	the Armordillo	披甲龙龟	アーマージロ&lt;br /&gt;
&lt;br /&gt;
28.	the Tiny Master of Evil	邪恶小法师	小さき大魔王&lt;br /&gt;
&lt;br /&gt;
29.	the Void Walker	虚空行者	ヴォイドを歩む者&lt;br /&gt;
&lt;br /&gt;
30.	the Saltwater Scourge	海洋之灾	大海原の大災厄&lt;br /&gt;
&lt;br /&gt;
31.	the Shield of Valoran	瓦罗兰之盾	ヴァロランの守護者&lt;br /&gt;
&lt;br /&gt;
32.	the Great Steam Golem	蒸汽机器人	偉大なるスチームゴーレム&lt;br /&gt;
&lt;br /&gt;
33.	the Madman of Zaun	祖安狂人	ゾウンの狂人&lt;br /&gt;
&lt;br /&gt;
34.	the Storm's Fury	风暴之怒	嵐の怒り&lt;br /&gt;
&lt;br /&gt;
35.	Shard of the Monolith	熔岩巨兽	モノリスの欠片&lt;br /&gt;
&lt;br /&gt;
36.	the Daring Bombardier	英勇投弹手	豪気の爆撃手&lt;br /&gt;
&lt;br /&gt;
37.	the Sinister Blade	不祥之刃	凶兆の刃&lt;br /&gt;
&lt;br /&gt;
38.	the Curator of the Sands	沙漠死神	砂漠の司書&lt;br /&gt;
&lt;br /&gt;
39.	the Revered Inventor	大发明家	誉れ高き発明王&lt;br /&gt;
&lt;br /&gt;
40.	the Demon Jester	恶魔小丑	悪魔の道化師&lt;br /&gt;
&lt;br /&gt;
41.	the Spirit Walker	兽灵行者	精霊と歩む者&lt;br /&gt;
&lt;br /&gt;
42.	the Bestial Huntress	狂野女猎手	半獣の狩人&lt;br /&gt;
&lt;br /&gt;
43.	Keeper of the Hammer	圣锤之毅	大鎚の守護者&lt;br /&gt;
&lt;br /&gt;
44.	the Rabble Rouser	酒桶	騒乱の飲んだくれ&lt;br /&gt;
&lt;br /&gt;
45.	the Unbreakable Spear	不屈之枪	砕けぬ槍&lt;br /&gt;
&lt;br /&gt;
46.	the Iron Revenant	铁铠冥魂	鋼の魂奪者&lt;br /&gt;
&lt;br /&gt;
47.	the Prodigal Explorer	探险家	光の冒険心&lt;br /&gt;
&lt;br /&gt;
48.	the Eye of Twilight	暮光之眼	黄昏の瞳&lt;br /&gt;
&lt;br /&gt;
49.	the Heart of the Tempest	狂暴之心	雷雲の担い手&lt;br /&gt;
&lt;br /&gt;
50.	The Might of Demacia	德玛西亚之力	デマーシアの勇士&lt;br /&gt;
&lt;br /&gt;
51.	the Rogue Assassin	离群之刺	主なき暗殺者&lt;br /&gt;
&lt;br /&gt;
52.	the Prophet of the Void	虚空先知	ヴォイドの予言者&lt;br /&gt;
&lt;br /&gt;
53.	the Berserker	狂战士	狂戦士&lt;br /&gt;
&lt;br /&gt;
54.	the Mouth of the Abyss	深渊巨口	深淵のアギト&lt;br /&gt;
&lt;br /&gt;
55.	the Seneschal of Demacia	德邦总管	デマーシアの家令長&lt;br /&gt;
&lt;br /&gt;
56.	the Crimson Reaper	猩红收割者	真紅の死神&lt;br /&gt;
&lt;br /&gt;
57.	the Colossus	正义巨像	伝説の巨像&lt;br /&gt;
&lt;br /&gt;
58.	the Dreadnought	无畏战车	ドレッドノート&lt;br /&gt;
&lt;br /&gt;
59.	the Bounty Hunter	赏金猎人	美貌の賞金稼ぎ&lt;br /&gt;
&lt;br /&gt;
60.	Maven of the Strings	琴瑟仙女	沈黙の弦奏師&lt;br /&gt;
&lt;br /&gt;
61.	the Noxian Grand General	诺克萨斯统领	ノクサス帝国元帥&lt;br /&gt;
&lt;br /&gt;
62.	the Lady of Luminosity	光辉女郎	光の才女&lt;br /&gt;
&lt;br /&gt;
63.	the Deceiver	诡术妖姬	幻惑の奇術師&lt;br /&gt;
&lt;br /&gt;
64.	the Blade Dancer	刀锋舞者	飛刃の舞い手&lt;br /&gt;
&lt;br /&gt;
65.	the Troll King	巨魔之王	トロールキング&lt;br /&gt;
&lt;br /&gt;
66.	the Serpent's Embrace	魔蛇之拥	毒蛇の抱擁&lt;br /&gt;
&lt;br /&gt;
67.	the Sheriff of Piltover	皮城女警	ピルトーヴァーの保安官&lt;br /&gt;
&lt;br /&gt;
68.	the Butcher of the Sands	荒漠屠夫	砂漠の解体屋&lt;br /&gt;
&lt;br /&gt;
69.	the Enlightened One	天启者	目覚めし者&lt;br /&gt;
&lt;br /&gt;
70.	the Twisted Treant	扭曲树精	歪みし樹人&lt;br /&gt;
&lt;br /&gt;
71.	the Exemplar of Demacia	德玛西亚皇子	デマーシアの儀範&lt;br /&gt;
&lt;br /&gt;
72.	the Eternal Nightmare	永恒梦魇	終わりなき悪夢&lt;br /&gt;
&lt;br /&gt;
73.	the Blind Monk	盲僧	盲目の修行僧&lt;br /&gt;
&lt;br /&gt;
74.	the Burning Vengeance	复仇焰魂	復讐の炎&lt;br /&gt;
&lt;br /&gt;
75.	the Mechanized Menace	机械公敌	戦慄の機甲兵&lt;br /&gt;
&lt;br /&gt;
76.	the Night Hunter	暗夜猎手	ナイトハンター&lt;br /&gt;
&lt;br /&gt;
77.	the Lady of Clockwork	发条魔灵	時計仕掛けの舞姫&lt;br /&gt;
&lt;br /&gt;
78.	the Shepherd of Souls	牧魂人	魂の導き手&lt;br /&gt;
&lt;br /&gt;
79.	the Radiant Dawn	曙光女神	暁光の戦士&lt;br /&gt;
&lt;br /&gt;
80.	the Monkey King	齐天大圣	美猴王&lt;br /&gt;
&lt;br /&gt;
81.	the Crystal Vanguard	水晶先锋	水晶の尖兵&lt;br /&gt;
&lt;br /&gt;
82.	the Blade's Shadow	刀锋之影	将軍の懐刀&lt;br /&gt;
&lt;br /&gt;
83.	the Exile	放逐之刃	贖罪の追放者&lt;br /&gt;
&lt;br /&gt;
84.	the Magus Ascendant	远古巫灵	超越魔神&lt;br /&gt;
&lt;br /&gt;
85.	the Outlaw	法外狂徒	無法者&lt;br /&gt;
&lt;br /&gt;
86.	the Half-Dragon	龙血武姬	半龍人&lt;br /&gt;
&lt;br /&gt;
87.	the Tidal Trickster	潮汐海灵	波間のトリックスター&lt;br /&gt;
&lt;br /&gt;
88.	the Relentless Storm	不灭狂雷	無慈悲の嵐&lt;br /&gt;
&lt;br /&gt;
89.	the Nine-Tailed Fox	九尾妖狐	九尾の狐&lt;br /&gt;
&lt;br /&gt;
90.	the Machine Herald	机械先驱	機械文明の先触れ&lt;br /&gt;
&lt;br /&gt;
91.	Fury of the North	北地之怒	極北の激憤&lt;br /&gt;
&lt;br /&gt;
92.	the Hexplosives Expert	爆破鬼才	ヘクス爆薬のエキスパート&lt;br /&gt;
&lt;br /&gt;
93.	the Titan of the Depths	深海泰坦	深海の巨人&lt;br /&gt;
&lt;br /&gt;
94.	the Grand Duelist	无双剑姬	高潔なるデュエリスト&lt;br /&gt;
&lt;br /&gt;
95.	the Fae Sorceress	仙灵女巫	森の妖精使い&lt;br /&gt;
&lt;br /&gt;
96.	the Shadow of War	战争之影	戦場の幻影&lt;br /&gt;
&lt;br /&gt;
97.	the Arrow of Retribution	惩戒之箭	報復の一矢&lt;br /&gt;
&lt;br /&gt;
98.	the Hand of Noxus	诺克萨斯之手	ノクサスの戦斧&lt;br /&gt;
&lt;br /&gt;
99.	the Glorious Executioner	荣耀行刑官	栄光ある処刑人&lt;br /&gt;
&lt;br /&gt;
100.	the Defender of Tomorrow	未来守护者	未来への希望&lt;br /&gt;
&lt;br /&gt;
101.	Rise of the Thorns	荆棘之兴	茨の目覚め&lt;br /&gt;
&lt;br /&gt;
102.	Scorn of the Moon	皎月女神	嘲りの月&lt;br /&gt;
&lt;br /&gt;
103.	the Pridestalker	傲之追猎者	孤高のハンター&lt;br /&gt;
&lt;br /&gt;
104.	the Dark Sovereign	暗黑元首	暗黒の女王&lt;br /&gt;
&lt;br /&gt;
105.	the Voidreaver	虚空掠夺者	ヴォイドの捕食者&lt;br /&gt;
&lt;br /&gt;
106.	the Spider Queen	蜘蛛女皇	蜘蛛の女帝&lt;br /&gt;
&lt;br /&gt;
107.	the Master of Shadows	影流之主	影の頭領&lt;br /&gt;
&lt;br /&gt;
108.	the Tidecaller	唤潮鲛姬	潮呼びの巫女&lt;br /&gt;
&lt;br /&gt;
109.	the Piltover Enforcer	皮城执法官	ピルトーヴァーの用心棒&lt;br /&gt;
&lt;br /&gt;
110.	the Chain Warden	魂锁典狱长	縛鎖の看守&lt;br /&gt;
&lt;br /&gt;
111.	Demacia's Wings	德玛西亚之翼	デマーシアの両翼&lt;br /&gt;
&lt;br /&gt;
112.	the Secret Weapon	生化魔人	親愛なる秘密兵器&lt;br /&gt;
&lt;br /&gt;
113.	the Ice Witch	冰霜女巫	氷の魔女&lt;br /&gt;
&lt;br /&gt;
114.	the Darkin Blade	暗裔剑魔	ダーキンの暴剣&lt;br /&gt;
&lt;br /&gt;
115.	the Purifier	圣枪游侠	不浄殲滅者&lt;br /&gt;
&lt;br /&gt;
116.	the Loose Cannon	暴走萝莉	暴走パンクガール&lt;br /&gt;
&lt;br /&gt;
117.	the Unforgiven	疾风剑豪	赦されざる者&lt;br /&gt;
&lt;br /&gt;
118.	the Eye of the Void	虚空之眼	ヴォイドの瞳&lt;br /&gt;
&lt;br /&gt;
119.	the Heart of the Freljord	弗雷尔卓德之心	フレヨルドの漢気&lt;br /&gt;
&lt;br /&gt;
120.	the Missing Link	迷失之牙	ミッシングリンク&lt;br /&gt;
&lt;br /&gt;
121.	the Emperor of the Sands	沙漠皇帝	砂塵の皇帝&lt;br /&gt;
&lt;br /&gt;
122.	the Spear of Vengeance	复仇之矛	復讐の槍&lt;br /&gt;
&lt;br /&gt;
123.	the Void Burrower	虚空遁地兽	地底の恐怖&lt;br /&gt;
&lt;br /&gt;
124.	the Wandering Caretaker	星界游神	流離いの庇護者&lt;br /&gt;
&lt;br /&gt;
125.	the Boy Who Shattered Time	时间刺客	砕けた時を渡る少年&lt;br /&gt;
&lt;br /&gt;
126.	The River King	河流之王	川の王様&lt;br /&gt;
&lt;br /&gt;
127.	The Eternal Hunters	永猎双子	永遠なる狩人&lt;br /&gt;
&lt;br /&gt;
128.	the Kraken Priestess	海兽祭司	海の女司祭&lt;br /&gt;
&lt;br /&gt;
129.	the Virtuoso	戏命师	孤高の芸術家&lt;br /&gt;
&lt;br /&gt;
130.	The Star Forger	铸星龙王	星を創りし者&lt;br /&gt;
&lt;br /&gt;
131.	the Stoneweaver	岩雀	ストーンウィーバー&lt;br /&gt;
&lt;br /&gt;
132.	the Cantankerous Cavalier	暴怒骑士	狂乱の騎兵&lt;br /&gt;
&lt;br /&gt;
133.	the Green Father	翠神	豊緑の神秘&lt;br /&gt;
&lt;br /&gt;
134.	the Steel Shadow	青钢影	スチールシャドウ&lt;br /&gt;
&lt;br /&gt;
135.	The Charmer	幻翎	魅惑の翼&lt;br /&gt;
&lt;br /&gt;
136.	the Rebel	逆羽	反逆の刃&lt;br /&gt;
&lt;br /&gt;
137.	the Shadow Reaper	影流之镰	無情の影&lt;br /&gt;
&lt;br /&gt;
138.	The Fire below the Mountain	山隐之焰	山の下の焔&lt;br /&gt;
&lt;br /&gt;
139.	the Aspect of Twilight	暮光星灵	超常の遊び&lt;br /&gt;
&lt;br /&gt;
140.	Daughter of the Void	虚空之女	虚無を知る娘&lt;br /&gt;
&lt;br /&gt;
141.	the Bloodharbor Ripper	血港鬼影	ブラッドハーバーの殺戮鬼&lt;br /&gt;
&lt;br /&gt;
142.	the Curious Chameleon	万花通灵	不思議のカメレオン&lt;br /&gt;
&lt;br /&gt;
143.	the Unshackled	解脱者	解き放たれし者&lt;br /&gt;
&lt;br /&gt;
144.	the Magical Cat	魔法猫咪	マジカルキャット&lt;br /&gt;
&lt;br /&gt;
145.	Empress of the Elements	元素女皇	エレメントの女帝&lt;br /&gt;
&lt;br /&gt;
146.	the Redeemer	涤魂圣枪	救済者&lt;br /&gt;
&lt;br /&gt;
147.	the Weapon of the Faithful	残月之肃	信ずる者の武器&lt;br /&gt;
&lt;br /&gt;
148.	the Boss	腕豪	ザ・ボス&lt;br /&gt;
&lt;br /&gt;
149.	the Bashful Bloom	含羞蓓蕾	はにかみ屋の花&lt;br /&gt;
&lt;br /&gt;
150.	the Unforgotten	封魔剑魂	忘られざる者&lt;br /&gt;
&lt;br /&gt;
151.	the Desert Rose	沙漠玫瑰	砂漠の薔薇&lt;br /&gt;
&lt;br /&gt;
152.	the Starry-Eyed Songstress	星籁歌姬	希望のメロディー&lt;br /&gt;
&lt;br /&gt;
153.	the Iron Maiden	镕铁少女	鋼鉄の乙女&lt;br /&gt;
&lt;br /&gt;
154.	The Ruined King	破败之王	滅びの王&lt;br /&gt;
&lt;br /&gt;
155.	The Hallowed Seamstress	灵罗娃娃	聖なるお針子&lt;br /&gt;
&lt;br /&gt;
156.	the Rogue Sentinel	影哨	流浪の番人&lt;br /&gt;
&lt;br /&gt;
157.	the Gloomist	愁云使者	終わりなき憂鬱&lt;br /&gt;
&lt;br /&gt;
===The comparative analyse of examples===&lt;br /&gt;
&lt;br /&gt;
In this chapter, we seperate the translations into 3 kinds which are transliteration, paraphrase and transcreation. If translation is totally corresponding with source language text, it will be considered as transliteration. If only part of it is correspongding with source language text, it will be considered as paraphrase. If it is totally out of source language text, it will be considered as trancreation.&lt;br /&gt;
&lt;br /&gt;
====1. The Minotaur====&lt;br /&gt;
Minotaur comes from the ancient Greek mystery, the Minotaur in the center of the Labyrinth. We can see that Chinese translators added the word ‘酋长’(Chieftain) and Japanese translator added the word ‘戦士’(Warrior). We can find some evidence if we look back to the history of games in China. Before the LOL there were Warcraft and the World of Warcraft, in which there was a character whose name is Tauren Chieftain, which was translated into Chinese as ‘牛头人酋长’, which means that in Chinese gamers head, there is a cognitive link between ‘牛头人’ and ‘酋长’ which has taken root for the reason that Warcraft was the most popular game in the world in the 2000s. But in the background story of The Minotaur, he is a ‘mighty warrior with a fearsome reputation’ and ‘seeks revenge for the death of his clan’. The title of ‘Chieftain’ is not mentioned in it. It only says that he is a warrior. So we can say that Chinese translation was affected by the predetermined impression. Although Japanese translation added the word ‘warrior’, it cannot be seen as mistranslation because of the background story.&lt;br /&gt;
&lt;br /&gt;
====2. The Dark Child====&lt;br /&gt;
On this title, Chinese translation can be nearly considered as literal translation. They just used ‘女’(girl) for ‘child’. On the Japanese side, they used the word ‘申し子’, which means child that born with talent, which can be referred to her background story which says, ‘Her natural affinity for fire manifested early in life’.&lt;br /&gt;
&lt;br /&gt;
====5. Grandmaster at Arms====&lt;br /&gt;
On this title, Chinese translation can be considered as literal translation. ‘武器’ for ‘Arms’ and ‘大师’ for ‘Grandmaster’. On Japanese translation, they used the word-building method which was used in ‘魔法使い’, which means mage or sorcerer in English, to build the new word ‘武器使い’, which now could mean the man who use arm.&lt;br /&gt;
&lt;br /&gt;
====6 and 8. The Righteous and The Fallen====&lt;br /&gt;
These two can be considered together. On Chinese translation they added ‘天使’ to both titles. On the Japanese translation, they added ‘天空’(sky) to ‘righteous’ and added ‘高潔’ to ‘fallen’. We can see in the Bible, the fallen angel could mean a angel that teach human the knowledge from heaven, such as Azazel. But from human’s view Azazel could be another Prometheus who brought wisdom of heaven to human kind. And her background story says, she ‘bound her wings to embrace humanity’ and ‘rejects laws and traditions she believes are unjust and fight for truth from the shadows of Demacia’. So it is not odd that Japanese translators added the word ‘高潔’.&lt;br /&gt;
&lt;br /&gt;
====7.The Wuju Bladesman====&lt;br /&gt;
The meaning of the word ‘Wuju’ can not be find in English. Japanese translators simply used the strategy of transliterating and translated to ‘ウージュ’. But Chinese characters hold not only the function of indicating the sounds, but also the function of indicating the meaning. ‘无极’ is a word which comes from Chinese culture. It can be found in sentences like ‘常德不忒，复归于无极’（道德经28章）‘大道无极，极乎自然，变化无极，其中要妙，三五八九’（云笈七签洞神经）. That can be referred to his background story which says that one of his master’s name is Hurong, which is clearly a Chinese name. So we could say that Chinese translation balanced the cultural connotation and the sound.&lt;br /&gt;
&lt;br /&gt;
====10.The Rune Mage====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘魔導師’ here, which means a marvelous mage than all others. This could be referred to his background story which says he is ‘an ancient, hard-bitten archmage with an impossibly heavy burden to bear’.&lt;br /&gt;
&lt;br /&gt;
====11.The Undead Juggernaut====&lt;br /&gt;
Juggernaut could mean a very large truck or a large and powerful force. So Japanese translators simply used the word ‘重戦車’. Chinese translators used the word ‘战神’ for ‘Juggernaut’, which could be referred to his background story which says that he is a brutal warlord. So he could be described with the word ‘战神’ in order to highlight his brutalness.&lt;br /&gt;
&lt;br /&gt;
====16.The Card Master====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation and the translation is ‘卡牌大师’. But Japanese translation didn’t go that way. It says ‘不敗のイカサマ師’, which means undefeated cheater. Since Japanese translators have not built a column to explain the reason for doing so, we cannot know why they choose this word. We can only speculate that they choose the strategy of localization according to his background story, which says he is ‘an infamous cardshark and swindler’ and he ‘always has an ace up his sleeve’. For Japanese players, they may get to know the background story just through the title.&lt;br /&gt;
&lt;br /&gt;
====17.The Uncaged Wrath of Zaun====&lt;br /&gt;
On this title Japanese translators simply literal translated it to ‘解き放たれたゾウンの激憤’. Chinese translators added the word ‘兽’ to indicate its brutish nature because its figure is a werewolf.&lt;br /&gt;
&lt;br /&gt;
====18.The Mad Chemist====&lt;br /&gt;
On this title Chinese translators cut the word ‘mad’ and translated the title to ‘炼金术士’ when Japanese transliterated it to ‘マッドケミスト’, which is a totally same thing because the katakana character of Japanese could be used as only symbols for sounds. But if consider the anime ‘Fullmetal Alchemist’, which the original Japanese name is ‘鋼の錬金術師’. And the Chinese meaning of the word ‘chemist’ in Oxford is ‘药剂师’ when the word for ‘炼金术士’ is ‘alchemist’ and ‘alchymist’. So we may say that Chinese translation is a mistranslation and Japanese translation is no doubt a better translation here when compare to Chinese.&lt;br /&gt;
&lt;br /&gt;
====21.The Barbarian King====&lt;br /&gt;
On this title Chinese translators used the strategy of literal translation when Japanese added the word ‘孤高’ which can indicate the magnificent character within a person. &lt;br /&gt;
&lt;br /&gt;
====22.the Plague Rat====&lt;br /&gt;
This is a title could be referred to the Black death which was caused by rat and it is often called ‘the plague’. So the translators of China and Japan translated it to ‘瘟疫’ and ‘黒死’. But in his background story, the evidence which indicates that he is the source of some kind of plague or decease could not be found. So we may see these two translation as mistranslation.&lt;br /&gt;
&lt;br /&gt;
====25.the Terror of the Void====&lt;br /&gt;
We have nothing much to say on Chinese translation. But Japanese translators used the word ‘未知なる’ for ‘Void’, which they used ‘ヴォイド’ in all other legends’ titles that with a ‘void’ in it.&lt;br /&gt;
&lt;br /&gt;
====27. the Armordillo====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘アーマージロ’. Chinese translators used a word that holds no connection with the source language text and the word is ‘披甲龙龟’, which means the dragon turtle with armor. But we can easily tell that ‘Armordillo’ comes from the animal ‘armadillo’. It is not even a turtle and it is called ‘穿山甲’ in Chinese. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
====35. Shard of the Monolith====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘モノリスの欠片’ when Chinese did not do so and translated to ‘熔岩巨兽’. We can see that Japanese translation is very loyal to the source language text but Chinese translation is totally out of it. We can’t see the Chinese translation as paraphrase but only a kind of trans-creation.&lt;br /&gt;
&lt;br /&gt;
====38. the Curator of the Sands====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘砂漠の司書’ when Chinese did not do so and translated to ‘沙漠死神’. It could be understanded because his figure is a jackal and comes from the sands so he is much like the god of death in mystery of Egypt whose name is Anubis. But in his background story it was never mentioned that he is a god of death and for that Yuan(2020) stated that ‘死神’ cannot be added to his title just for the figure. But if we look deeper into his lines in the gameplay, we can see these, ‘Life is part of a cycle. Yours is over.’ ‘I bring death.’ ‘The cycle of life and death continues. We will live, they will die.’ Besides if consider his link with Anubis, there is another line goes as, ‘Mortality is guilt. All will be judged.’ And in the early development he was simply called Anubis Head or Ammon, a major ancient Egyptian god. Then we could say that it is not wrong that Chinese translators used the word ‘死神’ because from the beginning this legend is fulfilled with Egyptian culture.&lt;br /&gt;
 &lt;br /&gt;
====42. the Bestial Huntress====&lt;br /&gt;
On this title both Chinese and Japanese translators lessened a part. Japanese cut the ‘tress’ and the translation is ‘半獣の狩人’ when Chinese translated the ‘bestial’ to ‘狂野’, which means wild.&lt;br /&gt;
&lt;br /&gt;
====43. Keeper of the Hammer====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘大鎚の守護者’ when Chinese did not do so and translated the word ‘keeper’ to ‘毅’, which means resolute in Chinese. Besides Chinese translators also added ‘圣’ which means holy, to the word ‘hammer’. In her background story the hammer was described ‘legendary’ and she was described as a ‘determined yordle’, in which yordle is the race to which she belongs, so it is no odd that Chinese translation goes like that.&lt;br /&gt;
&lt;br /&gt;
====44. the Rabble Rouser====&lt;br /&gt;
The literal Chinese translation of this title is ‘暴民煽动人’ and the formal translation is ‘酒桶’, which means barrel. Japanese translation ‘騒乱の飲んだくれ’ means ‘drunkard of riot’. But the literal meaning of ‘the rabble rouser’ is one that stirs up the masses of the people as to hatred or violence. But his background story shows that he is merely a drunkard like the Japanese translation, which added ‘騒乱’ which happens in almost every pub. Drinkers are often drinking or fighting with each other. The literal meaning could cause misunderstanding in target language audiences. Besides, the Chinese word ‘桶’ could mean one who only knows one thing, such as ‘饭桶’ could describe one who is always eating. And ‘桶’ is his attack pattern in gameplay. In conclusion, we could say that both Chinese and Japanese translations are good transcreation.&lt;br /&gt;
&lt;br /&gt;
====46. the Iron Revenant====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘铁铠冥魂’. They only added ‘铠’(armor) to extended the meaning of ‘iron’. But Japanese translators retained the ‘iron’(鋼) and turned ‘revenant’ into ‘魂奪者’, which means one who grab another’s soul. This can be referred to his ultimate ability which is to draw enemy’s soul out.&lt;br /&gt;
&lt;br /&gt;
=====47. the Prodigal Explorer====&lt;br /&gt;
On this title Chinese translators lessened the ‘prodigal’ part which means ‘浪子’ in Chinese and only retain the ‘explorer’, which is the Chinese translation ‘探险家’. Japanese translators used the strategy of transcreation and the translation is ‘光の冒険心’, which means the spirit of adventure with light.&lt;br /&gt;
&lt;br /&gt;
====49. the Heart of the Tempest====&lt;br /&gt;
The word ‘tempest’ means a violent storm and Chinese translators translated it to ‘狂暴’ which can only mean ‘rage’ or ‘fury’ in Chinese. We could only speculate that they first translated ‘tempest’ into ‘狂乱的风暴‘, hence ‘狂’ is the adjective of the followed noun part ‘暴’. But this could cause misunderstanding. Japanese translators literally translated ‘tempest’ into ‘雷雲’ which means clouds with thunder and paraphrased ‘heart’ to ‘担い手’ which means a carrier who is the center of something and the word ‘heart’ means so. We could say that Japanese translation reached a higher level of cultural fusion by translating English into Japanese with out losing the original meaning and showing the beauty of Japanese language.&lt;br /&gt;
&lt;br /&gt;
====50. The Might of Demacia====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘德玛西亚之力’, in which ‘德玛西亚’ stands for the sound of ‘Demacia’ which is a city in the game universe and ‘力’ stands for the meaning of ‘might’. Japanese translators personalized the word ‘might’ into ‘	勇士’.&lt;br /&gt;
&lt;br /&gt;
====56. the Crimson Reaper====&lt;br /&gt;
Chinese translators used ‘收割者’ for ‘reaper’, which we could say that it is literal translation. On the same part Japanese translation is ‘死神’, which is the derivative meaning of ‘reaper’ but it is often used like ‘the Grim Reaper’. But in his background story this part was never mentioned. We may say that Japanese translators wanted to introduce the derivative meaning of ‘reaper’ to the players but unfortunately they might be wrong.&lt;br /&gt;
&lt;br /&gt;
====58. the Dreadnought====&lt;br /&gt;
The Dreadnought is a type of English battleship in the early 20th century and Chinese usually call it ‘无畏舰’ so it was translated into ‘无畏战车’. Yet Japanese translation is ‘ドレッドノート’ which also means the same thing but makes people feel like something foreign. On this title for the Dreadnought is loaded with English culture, Japanese translators chose to use the katakana characters to reach the goal of foreignization and showed the foreign culture to the players.&lt;br /&gt;
&lt;br /&gt;
====59. the Bounty Hunter====&lt;br /&gt;
We have nothing much to say on the Chinese translation of this title. But Japanese translators added ‘美貌’ before the part for ‘bounty hunter’.&lt;br /&gt;
&lt;br /&gt;
====60. Maven of the Strings====&lt;br /&gt;
The word ‘maven’ means an expert on something. Chinese translators used ‘仙女’ for this part and translated ‘strings’ into ‘琴瑟’ which came from traditional Chinese poems like ‘窈窕淑女，琴瑟友之’ and the meaning is instruments with strings. Japanese translators used ‘弦奏師’ for the source language text and added ‘沈黙’ before it because she is mute according to her background story.&lt;br /&gt;
&lt;br /&gt;
====63. the Deceiver====&lt;br /&gt;
The meaning of deceiver is similar to cheater and in the early time some players called her ‘欺诈者’. Now we could say that Chinese translation is a great paraphrase for we cannot find a part that totally corresponding with ‘deceiver’ in ‘诡术妖姬’. And the Japanese translation is ‘幻惑の奇術師’, which means magician with illusion, could also be seen as paraphrase for the same reason.&lt;br /&gt;
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====67. The Sheriff of Piltover====&lt;br /&gt;
‘Sheriff’ could be seen as a culture loaded word and for many Chinese people when they hear this they will come up with a man with a five-pointed star on his chest and cowboy hat on the head and a bulldog pistol in his belt. The reason could be the old western films like ‘The Unforgiven’, in which ‘sheriff’ was translated into ‘警长’. We could speculate that Chinese translators were influenced by those translations and they considered that the legend is a female so changed ‘警长’ to ‘女警’, which is not odd. If we have to say that ‘女警’ may cause misunderstanding because ‘sheriff’ is not same with ‘警察’, like Yuan(2020) stated that the translation should be ‘执法官’, then she could have a new name which is ‘治安官’, another general translation for ‘sheriff’. We also need to put her partner, the Piltover Enforcer into consideration, and we will go further in No.109. &lt;br /&gt;
We have nothing much to say about Japanese translation because there is an exactly corresponding word in Japanese for ‘sheriff’ which is ‘保安官’ and they translated it in that way.&lt;br /&gt;
Another thing we may need to mention is the translation for ‘Piltover’, which is also a city in the game universe like Demacia. Chinese translators translated it into ‘皮城’ in which ‘皮’ stands for the simplified form of ‘皮尔特沃夫’ which stands for the sound of ‘Piltover’ and ‘城’ stands for the city part which is mention in the background story. Hence the Chinese translation is for the simplicity of language. It is too long if translated into ‘皮尔特沃夫治安官’. And Japanese translators used the same strategy they used on the translation of ‘Demacia’. ‘ピルトーヴァー’ stands for the sound of ‘Piltover’.&lt;br /&gt;
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====69. the Enlightened One====&lt;br /&gt;
Chinese translators translated this title into ‘天启者’, which means one who is enlightened by heavenly gods. But in Chinese ‘天启’ was already related with another English word which is ‘apocalypse’ which means the end of the world. Therefore Chinese translation could cause misunderstanding for she is not someone like a horseman of the Apocalypse according to her background story. Besides, her name Karma could be a culture loaded word from Indian culture which means the force created be one’s actions that is believed in Hinduism and Buddhism to determine what that person’s next life will be. In conclusion we could consider Chinese translation as a wrong introduction of foreign culture while Japanese translation, ‘目覚めし者’, could be considered as literal translation.&lt;br /&gt;
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====71. the Exemplar of Demacia====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘デマーシアの儀範’. Chinese translators did not use the original meaning of the word ‘exemplar’ which is one that serves as model or example, they used the word ‘皇子’ which means prince. This is from his background story that he is the son of the ruler of Demacia.&lt;br /&gt;
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====75. the Mechanized Menace====&lt;br /&gt;
The Chinese translation for this title is ‘机械公敌’, which means ‘enemy of machinery’, which has already caused misunderstanding that he is a guy who hates robots and machines so much so robots see him as an enemy. Even if we put the movie ‘I,Robot’ into consideration for it is called ‘机械公敌’ in Taiwan, we still cannot use this term which is originally used to describe rebellious robots on a character who use machine to make himself powerful. The Japanese translation, ‘戦慄の機甲兵’, revealed his true nature which is in his title. For this we could consider Chinese translation as mistranslation.&lt;br /&gt;
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====77. the Lady of Clockwork====&lt;br /&gt;
In the Chinese translation translators used ‘魔灵’(golem) for lady to indicate that she is not a lady of flesh and blood, and that could be seen as a paraphrase while Japanese translators used ‘舞姫’, which means dancer, which we cannot find evidence through her background story, therefore we could consider it as an unfounded paraphase.&lt;br /&gt;
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====79. the Radiant Dawn====&lt;br /&gt;
Both Japanese and Chinese translations used the strategy of paraphrase to personalized this title and Chinese translators added the word ‘女神’, which means goddess, and Japanese translators added the word ‘戦士’, which means warrior.&lt;br /&gt;
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====83. the Exile====&lt;br /&gt;
On this title Chinese translators added ‘刃’, which is to indicate her weapon, onto ‘放逐’ which stands for the original meaning of ‘exile’. Japanese translators added ‘贖罪’ to indicate her way of redemption which we can fine in her background story.&lt;br /&gt;
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====86. the Half-Dragon====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘半龍人’. Chinese translators used ‘姬’ and ‘龙血’ to indicate that she is a half-dragon, and added ‘武’ to show her furiousness, therefore we can consider Chinese translation as a good paraphrase.&lt;br /&gt;
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====87. the Tidal Trickster====&lt;br /&gt;
On this title Japanese translators also used the strategy of transliteration and the translation is ‘波間のトリックスター’, in which ‘波間’ stands for ‘tidal’ and ‘トリックスター’ stands for the sound of ‘trickster’. In Chinese translation ‘tidal’ is literally translated into ‘潮汐’ and for ‘trickster’ they paraphrased it to ‘海灵’, which means sprite in the sea.&lt;br /&gt;
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====88. the Relentless Storm====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘無慈悲の嵐’. And Chinese translation goes as ‘不灭狂雷’, which has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====92. the Hexplosives Expert====&lt;br /&gt;
‘H’ could hold two meanings here. It could stand for ‘high’ or stand for the technology named ‘HEX’ in the game universe. It is clearly that Chinese translators took the meaning of ‘high’, or maybe they ignored the letter ‘H’ and translated the title to ‘爆破鬼才’, which we can say that it is a literal translation. Japanese translators saw the ‘HEX’ part and translated to ‘ヘクス爆薬のエキスパート’, in which ‘へクス’ stands for ‘HEX’.&lt;br /&gt;
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====102. Scorn of the Moon====&lt;br /&gt;
On this title Chinese translators cut ‘scorn’ and in order to show the connection between she and Leona, the Radiant Dawn, they translated it to ‘皎月女神’, which means goddess of bright moon. And Japanese translators used the strategy of transliteration and the translation is ‘嘲りの月’&lt;br /&gt;
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====108. the Tidecaller====&lt;br /&gt;
On this title Chinese translators translated the ‘er’ part to ‘鲛姬’, which means mermaid princess. Japanese translators did the same job that they translated it to ‘巫女’. Both could be seen as paraphrase.&lt;br /&gt;
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====109. the Piltover Enforcer====&lt;br /&gt;
We talked about her partner, the Piltover Sheriff before. Chinese translators translated it to ‘执法官’ and we have nothing much to say about it. But Japanese translators used a Japanese culture loaded word which is ‘用心棒’, which means bodyguard. But the evidence that could support this translation. We could say that she is the bodyguard of the sheriff but that is not strong enough. We could only say that this is a mistranslation.&lt;br /&gt;
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====115 and 146. the Purifier and the Redeemer====&lt;br /&gt;
The Chinese translation is clearly a transcreation for there is no corresponding part between ‘圣枪游侠’ and ‘purifier’. We could say that he can purify the evilness for he holds ‘the sacred guns’(圣枪). But it is not strong enough. The Japanese translation ‘不浄殲滅者’ could be almost corresponding with the source language text. And for ‘the Redeemer’, when Chinese translators got the text of ‘the Purifier’, they didn’t know what will happen to the story, they only know he had a wife named Sena, who now we know as ‘the Redeemer’, they didn’t even know whether she would be in game or not. So the recommendable way of translating is transcreation according to the background stories and abilities in gameplay. And to show their connection they translated ‘the Redeemer' to ‘涤魂圣枪’ while Japanese translators used the strategy of transliteration and the translation is ‘救済者’.&lt;br /&gt;
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====116. the Loose Cannon====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘loose’ to ‘暴走’ and personalized ‘cannon’ to ‘萝莉’(little girl). Or we could say that ‘萝莉’ is not even the personalized part of ‘cannon’, which means that translators cut the word ‘cannon’ and ‘萝莉’, in fact, is transcreation. We can see that Japanese translators used the similar pattern as Chinese and the translation is ‘暴走パンクガール’(punk girl). &lt;br /&gt;
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====117 and 150. the Unforgiven and the Unforgotten====&lt;br /&gt;
On these two titles Japanese translators used the strategy of transliteration and the translations are ‘許されざる者’ and ‘忘られざる者’. But Chinese translators went through a long journey to decide the titles ‘疾风剑豪’ and ‘封魔剑魂’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====119. the Heart of the Freljord====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘弗雷尔卓德之心’, in which ‘弗雷尔卓德’ stands for the sound of ‘Freljord’ and ‘心’ stands for ‘heart’. For the ‘heart’ part, Japanese translators used the word ‘漢気’, which could also be written as ‘男気’, which means manhood. We could speculate that Japanese translators wanted to indicate the legend’s character so they used the strategy of paraphrase &lt;br /&gt;
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====123. the Void Burrower====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空遁地兽’. Japanese translation could be seen as paraphrase, because we still can related the ‘地底’ to ‘’burrower.&lt;br /&gt;
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====124. the Wandering Caretaker====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流離いの庇護者’. Chinese translators used the strategy of paraphrase. They added ‘星界’ which indicate from where he came, to the ‘游神’ part which could stand for the meaning of the source language text.&lt;br /&gt;
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====127. The Eternal Hunters====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘永遠なる狩人’. But Chinese translators did a greater job for they translated ‘eternal’ and ‘hunter’ with two characters which are ‘永’ and ‘猎’. And for the plural of hunter, considering the background story which says that the legend is a sheep and a wolf that are bonded to get her, the translators used the word ‘双子’.&lt;br /&gt;
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====129. the Virtuoso====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘孤高の芸術家’. They just added ‘孤高’ to indicate his pursuit for the art of killing. It is hard to explain how Chinese translators developed this translation. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references. &lt;br /&gt;
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====131. the Stoneweaver====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘ストーンウィーバー’, which stands for the sound of ‘stoneweaver’. Chinese translators used the strategy of paraphrase here. They translated ‘weaver’, which could mean to move fast, to ‘雀’, which is sparrow.&lt;br /&gt;
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====133. the Green Father====&lt;br /&gt;
On this title both Chinese and Japanese translations used the strategy of paraphrase. Chinese translators translated ‘green’ to ‘翠’ and ‘father’ to ‘神’, which means god. We could find evidence in religion for those believers also call God with ‘All-father’. Japanese translation is ‘豊緑の神秘’, in which ‘豊緑’ stands for ‘green’ and ‘神秘’ stands for ‘father’.&lt;br /&gt;
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====134. the Steel Shadow====&lt;br /&gt;
On this title Chinese translators added ‘青’ to the source language text which was literally translated ‘钢影’. And ‘青钢’ could be related to an ancient Chinese sword named ‘青釭’, which could indicate that this legend holds the ability of cutting things smoothly. So we could consider Chinese translation as paraphrase. And Japanese translators simply used the katakana characters ‘スチールシャドウ’ which stands for the sound of ‘steel shadow’.&lt;br /&gt;
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====135 and 136. The Charmer and the Rebel====&lt;br /&gt;
These two legends were made in pair as they are two love birds. So Chinese and Japanese translators all used the strategy of paraphrase. Chinese translation for ‘charmer’ is ‘幻翎’ in which ‘幻’ stands for the source language text ‘charm’ and translators turned ‘er’ into ‘翎’, which indicates his figure. And the translation for ‘the Rebel’ is ‘逆羽’, in which ‘逆’ stands for ‘rebel’ and ‘羽’ is the addition part in order to pair with the Charmer. Japanese translators’ path is almost same with the Chinese. The Japanese translation for ‘the Charmer’ is ‘魅惑の翼’ and the translation for ‘the Rebel’ is ‘反逆の刃’. &lt;br /&gt;
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====139. the Aspect of Twilight====&lt;br /&gt;
The Chinese translation of this title is ‘暮光星灵’, which ‘暮光’ stands for ‘twilight’. We could say that ‘星灵’ is not a paraphrase of ‘aspect’ but a transcreation. But Japanese translation, which is ‘超常の遊び’, is totally out of the sourse language text. The meaning of the Japanese translation could be ‘supernormal play’, which could be referred to her background story which says that she is ‘the embodiment of mischief, imagination, and change’.&lt;br /&gt;
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====140. Daughter of the Void====&lt;br /&gt;
On this title Chinese translators used the strategy of transliteration and the translation is ‘虚空之女’, in which ‘女’ stands for ‘daughter’. But the Japanese translation is ‘虚無を知る娘’, which means ‘daughter who knows void’. This could be seen as paraphrase because in her background story she was ‘claimed by the Void when she was only a child’ but she ‘managed to survive’ and eventually got back from the Void. In a way we could say that it is a kind of ‘knowing’.&lt;br /&gt;
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====141. the Bloodharbor Ripper====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and paraphrase and Chinese translators used the strategies of transliteration and transcreation. For ‘bloodharbor’, which is the literally translated part, Chinese translation goes as ‘血港’ and Japanese translation goes as ‘ブラッドハーバー’. And for ‘ripper’, Japanese translation goes as ‘殺戮鬼’, which means maniac serial killer and could be referred to the infamous serial killer Jack the Ripper. And Chinese translation goes as ‘鬼影’, which is the transcreation part for the meaning of ‘鬼影’ which is shadow of ghost and it is not corresponding with ‘ripper’ but could be referred to the legend’s figure and abilities in gameplay.&lt;br /&gt;
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====142. the Curious Chameleon====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘不思議のカメレオン’. But Chinese translation is total transcreation for we cannot correspond ‘万花通灵’ to any part in source language text. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====147. the Weapon of the Faithful====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘信ずる者の武器’, in which ‘信ずる者’ stands for ‘the faithful’ and ‘武器’ stands for weapon. And Chinese translators went through a long journey to decide the translation ‘残月之肃’, which came from their background stories and abilities in gameplay. And it has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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====148. the Boss====&lt;br /&gt;
On this title Japanese translators used the strategies of transliteration and the translation is ‘ザ・ボス’, which stands for the sound of ‘the Boss’. But Chinese translation, which is ‘腕豪’ is total transcreation for ‘腕’ means ‘wrist’ and ‘豪’ means ‘a person with extraordinary powers or endowments’ and we can see that Chinese use the word ‘文豪’ to describe great authors like Balzac or Agatha Christie. The translation could be referred to his abilities in gameplay that his attack pattern is fist punching.&lt;br /&gt;
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====152. the Starry-Eyed Songstress====&lt;br /&gt;
On this title Chinese translators used the strategies of transliteration and paraphrase and the translation goes as ‘星籁歌姬’, in which ‘歌姬’ is the transliteration part and stands for ‘songstress’ and the reason for the paraphrased part ‘星籁’ has been explained by the translators themselves in their own-developed column and the link will be put into the references. Japanese translators used the strategy of transcreation and the translation is ‘希望のメロディー’, which means melody of hope, and it could be referred to her background story which says that she ‘turning chaos into a symphony’ and ‘performs for the sister cities to remind their citizens that they are not alone, that they are stronger together, and that, in her eyes, their potential is limitless.’&lt;br /&gt;
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====153. the Iron Maiden====&lt;br /&gt;
‘Iron Maiden’ could mean a cruel torturing device that people will die in few days for bleeding and any movement will just make the person die sooner. We can see that her ultimate ability description says that ‘creating a field of gravitational force around her’ and ‘continuously drags them towards her’, in which we can see that enemy will be unable to move if dragged by her. And enemy’s movement won’t help. So Chinese translation ‘镕铁少女’ and Japanese translation ‘鋼鉄の乙女’ didn’t show that point, translators just literally translated it.&lt;br /&gt;
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====155. The Hallowed Seamstress====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘聖なるお針子’ which is totally corresponding with source language text. But Chinese translators showed their creativity again and translated it to ‘灵罗娃娃’, which ‘灵’ stands for ‘hallowed’ and ‘灵罗’(lingluo) stands for ‘绫罗’(lingluo) which means silks which can be referred to ‘seamstress’. And ‘娃娃’ is translators’ transcreation which indicates that she is a doll made by the queen which can be seen in her background story.&lt;br /&gt;
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====156. the Rogue Sentinel====&lt;br /&gt;
On this title Japanese translators used the strategy of transliteration and the translation is ‘流浪の番人’. Chinese translators used the strategies of paraphrase and transliteration in which ‘影’ stands for ‘rouge’ and ‘哨’ stands for ‘sentinel’ and the reason has been explained by the translators themselves in their own-developed column and the link will be put into the references.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
We can see that Chinese and Japanese both use Chinese characters which could stand for both sounds and meanings so they can easily show the meaning of source languege text. And Japanese translators tend to use katakana characters which can stand only for the sound of source language text to achieve the goal which is foreignized transliteration for titles like ‘steel shadow’ and ‘armordillo’. Also there are some strange localized translations like ‘用心棒’ for ‘enforcer’ while some legends like ‘the unforgiven’ and ‘the unforgotten’ who clearly hold the Japanese culture inside but Japanese tranlators didn't take them seriously enough and simply literally translated them. But Chinese translators tried a lot to localize the text and tend to use the strategy of transcreation to show legends' characteristic like what they did to ‘the Boss’ and ‘the Starry-Eyed Songstress’. For many reasons we cannot know but only to speculate that how Japanese translations came out like this, but we can still say that the game is not so valued in Japan than in China for Chinese translations are rather creations than transltions, and creantions could cost much more time than translation and they even opened a colomn to explain the ideas. We could say that Chinese translators considered the acceptence of the game among the players and the integrity of the game within one server. And Japanese translators payed more attention to the consistency of translation to the source language text, which is the usage of the strategy of tranliteration.&lt;br /&gt;
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===References===&lt;br /&gt;
*Zhang Wujiang 张武江. (2013). 译创在游戏本地化翻译中的应用 [The application of transcreation in the localized translation of games]. 现代传播 [Modern Communication]. &lt;br /&gt;
*Dai Jie 代婕. (2019). 浅析跨文化交际翻译视角下的游戏翻译 [A brief analysis of the tranlations of games in the approach of translation for intercultural communication]. 现代交际 [Modern Communication]. &lt;br /&gt;
*Liu Chang 刘畅. (2019). 网络游戏本地化翻译研究 [Localized translation study on the online games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Yuan Yihao 袁一皓. (2020). 游戏本地化视阈下的“翻译”与“再创作” [The ‘translation’ and ‘re-creation’ in the view of the localization of games]. 海外英语 [Overseas English]. &lt;br /&gt;
*Champions-Universe of League of Legends 英雄-《英雄联盟》宇宙. Accessed December 1, 2021. https://universe.leagueoflegends.com/en_US/champions/&lt;br /&gt;
*Translation matters of LOL 联盟译事. Accessed December 1, 2021. https://lol.qq.com/search/index.shtml?order=sIdxTime&amp;amp;page=1&amp;amp;type=ALL&amp;amp;keyword=联盟译事&lt;br /&gt;
*League of Legends Wiki，Nasus(the Curator of the Sands)/Lol/Audio. Accessed December 1, 2021. https://leagueoflegends.fandom.com/wiki/Nasus/LoL/Audio&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
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		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=130993"/>
		<updated>2021-12-11T08:11:53Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513 */&lt;/p&gt;
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&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。 &lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.--[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 08:11, 11 December 2021 (UTC)&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three girls were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，学名叫做王熙凤。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20211215_homework&amp;diff=130992</id>
		<title>20211215 homework</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20211215_homework&amp;diff=130992"/>
		<updated>2021-12-11T08:11:30Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* 马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Quicklinks: [[Introduction_to_Translation_Studies_2021|Back to course homepage]] [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual] [[20210926_homework|Back to all homework webpages overview]] [[20220112_final_exam|final exam page]]&lt;br /&gt;
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==陈静 Chén Jìng 国别 女 202020080595==&lt;br /&gt;
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鼎：古代食器。胡羼(chàn忏) ──胡闹。 羼：本义为群羊杂居。引申为杂乱不纯，乱七八糟。​&lt;br /&gt;
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==蔡珠凤 Cài Zhūfèng 法语语言文学 女 202120081477==&lt;br /&gt;
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抓──即“抓周”，亦称“试儿”、“试周”。旧俗于婴儿满周岁时，父母摆列各种小件器物，任其抓取，以测试其秉性、智愚、志趣。此俗始于江南，后亦传到北方。&lt;br /&gt;
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Catch ─ ─ means &amp;quot;catch the week&amp;quot;, also known as &amp;quot;test&amp;quot; and &amp;quot;test week&amp;quot;. The old custom is when the baby reaches one year old, the parents arrange all kinds of small utensils and let them grab them to test their disposition, wisdom and ambition. This custom began in the south of the Yangtze River and then spread to the north.--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:41, 11 December 2021 (UTC)&lt;br /&gt;
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==曾俊霖 Zēng Jùnlín 国别 男 202120081478==&lt;br /&gt;
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事见北朝周·颜之推《颜氏家训·风操》：“江南风俗，儿生一期(年)，为制新衣，盥浴装饰，男则用弓矢纸笔，女则刀尺针缕(线)，并加饮食之物及珍宝服玩，置之儿前，观其发意所取，以验贪亷智愚，名之为试儿。”&lt;br /&gt;
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It is said in Yan's family instructions and customs by Yan Zhitui of the Northern Dynasty that &amp;quot;the custom in the south of the Yangtze River was born in the first year. It was to make new clothes and decorate bathrooms. Men used bows and arrows, paper and pens, women used knives, rulers, needles and threads (lines), and played with food and precious clothes. They were placed in front of their children and looked at what they wanted to take to test their greed, wisdom and stupidity. They were called test children.&amp;quot;--[[User:Zeng Junlin|Zeng Junlin]] ([[User talk:Zeng Junlin|talk]]) 07:37, 11 December 2021 (UTC)&lt;br /&gt;
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==陈惠妮 Chén Huìnī 英语语言文学（英美文学） 女 202120081479==&lt;br /&gt;
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(宋·赵彦卫《云麓漫钞》卷二也有相同记载)又宋·叶真《爱日斋丛钞》卷一：“《玉壶野史》记曹武惠王(曹彬)始生周晬日，父母以百玩之具罗于席，观其所取。&lt;br /&gt;
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==陈湘琼 Chén Xiāngqióng 外国语言学及应用语言学 女 202120081480==&lt;br /&gt;
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武惠王左手提干戈，右手提俎豆，斯须取一印，馀无所视。曹，真定人。江南遗俗乃在此(指真定)，今俗谓试周是也。”​&lt;br /&gt;
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==陈心怡 Chén Xīnyí 翻译学 女 202120081481==&lt;br /&gt;
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致知格物──语出《礼记·大学》：“致知在格物，格物而后知至。”意谓要想获得知识，必须探究事物的道理。 致：获得，取得。 &lt;br /&gt;
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==程杨 Chéng Yáng 英语语言文学（英美文学） 女 202120081482==&lt;br /&gt;
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格：推究，探究，探讨。​尧……张──尧、舜、禹、汤、文、武，即唐尧、虞舜、夏禹、成汤、周文王、周武王，是从上古至西周的明君；&lt;br /&gt;
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==丁旋 Dīng Xuán 英语语言文学（英美文学） 女 202120081483==&lt;br /&gt;
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周、召，即周公旦、召公奭，都是西周的贤相；孔、孟，即孔丘(通称孔子)、孟轲(通称孟子)，都是儒学的创始人；董、韩、周、程、朱、张，即汉代董仲舒、唐代韩愈、北宋周敦颐、北宋程颢和程颐兄弟、南宋朱熹、北宋张载，都是儒学理论家。&lt;br /&gt;
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==杜莉娜 Dù Lìnuó 英语语言文学（语言学） 女 202120081484==&lt;br /&gt;
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这些人皆是儒家竭力推崇的人物。蚩尤……秦桧──蚩尤、共工，都是传说中上古最凶恶的部族首领；桀、纣、始皇，即夏桀、商纣王、秦始皇，都是登峰造极的暴君；&lt;br /&gt;
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==付红岩 Fù Hóngyán 英语语言文学（英美文学） 女 202120081485==&lt;br /&gt;
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王莽、曹操、桓温、安禄山、秦桧，他们分别是汉代、三国、东晋、唐代、南宋人，都是大奸臣乃至叛逆之贼。​许由……朝云──许由，传说他是上古时为了逃避帝位而终生隐居的贤人；陶潜(即陶渊明)、阮籍、嵇康、刘伶，都是魏晋时期著名文学家及不与流俗同低昂的独行之士；&lt;br /&gt;
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==付诗雨 Fù Shīyǔ 日语语言文学 女 202120081486==&lt;br /&gt;
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王谢二族，指东晋王导和谢安，都是显贵；顾虎头，即顾恺之，字虎头，是东晋名画家；陈后主、唐明皇、宋徽宗，都是有才气的风流皇帝；&lt;br /&gt;
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==高蜜 Gāo Mì 翻译学 女 202120081487==&lt;br /&gt;
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刘庭芝即刘希夷(字庭芝)、温飞卿即温庭筠(字飞卿)，都是唐代名诗人；米南宫即米芾(南宫为世称)，是北宋名画家；石曼卿即石延年(字曼卿)、柳蓍卿即柳永(字蓍卿)、秦少游即秦观(字少游)，都是北宋著名文学家；&lt;br /&gt;
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==宫博雅 Gōng Bóyǎ 俄语语言文学 女 202120081488==&lt;br /&gt;
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倪云林即倪瓒，字云林，是元代名画家；唐伯虎即唐寅(字伯虎)、祝枝山即祝允明(字枝山)，都是明代名画家、文学家；李龟年(唐代人)、黄幡绰(唐代人)、敬新磨(五代后唐人)，都是名艺人；&lt;br /&gt;
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==何芩 Hé Qín 翻译学 女 202120081489==&lt;br /&gt;
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卓文君(已见第一回注)、红拂(先为隋相杨素的侍女，后私奔李靖，也是前蜀·杜光庭《虬髯客传》中的女主人公)、薛涛(唐代才妓)、崔莺(即唐·元稹《会真记》、元·王实甫《西厢记》中的崔莺莺)、朝云(宋代名妓)，他们都是以才貌流芳的名女。​&lt;br /&gt;
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==胡舒情 Hú Shūqíng 英语语言文学（语言学） 女 202120081490==&lt;br /&gt;
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成则公侯败则贼──意谓成功的人便能获得公爵、侯爵之类的高官显爵，失败的人便被看作贼寇。表示世上并无公理，世人不讲是非，只论成功与失败，即只以成败论英雄。这里化用了“败则盗贼，成则帝王”。​&lt;br /&gt;
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==黄锦云 Huáng Jǐnyún 英语语言文学（语言学） 女 202120081491==&lt;br /&gt;
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出自宋·邓牧《君道》：“嘻！天下何常之有？败则盗贼，成则帝王。”东床──指女婿。典出《晋书·王羲之传》、南朝宋·刘义庆《世说新语·雅量》：晋朝太尉郗鉴派人至丞相王导家相婿，王丞相令其到东厢房随意挑选。&lt;br /&gt;
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==黄逸妍 Huáng Yìyán 外国语言学及应用语言学 女 202120081492==&lt;br /&gt;
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此人过去一看，见王家诸郎皆很矜持，唯独王羲之坦腹躺在东床之上，毫不在乎。此人回报，郗鉴即选中王羲之为婿。后世即以“东床”、“东床坦腹”、“东床客”、“东床娇客”等代指女婿。​&lt;br /&gt;
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==黄柱梁 Huáng Zhùliáng 国别 男 202120081493==&lt;br /&gt;
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退了一舍之地──意谓退避三十里。形容退居其后，不敢与争。 一舍：三十里。 这里化用了“退避三舍”之典。&lt;br /&gt;
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==金晓童 Jīn Xiǎotóng  202120081494==&lt;br /&gt;
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典出《左传·僖公二十三年》：春秋时，晋国公子重耳出奔至楚，楚成王礼遇之，因问道：“公子若反(返)晋国，则何以报不谷？”重耳对曰：“若以君之灵，得反晋国，晋、楚治兵，遇于中原，其辟(避)君三舍。”&lt;br /&gt;
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==邝艳丽 Kuàng Yànl 英语语言文学（语言学） 女 202120081495==&lt;br /&gt;
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后重耳返国为君，晋、楚城濮(在今山东省鄄城县西南)之战，重耳遵守诺言，晋军果“退三舍以辟之”。&lt;br /&gt;
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第三回&lt;br /&gt;
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托内兄如海荐西宾 接外孙贾母惜孤女&lt;br /&gt;
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==李爱璇 Lǐ Àixuán 英语语言文学（语言学） 女 202120081496==&lt;br /&gt;
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却说雨村忙回头看时，不是别人，乃是当日同僚一案参革的张如圭。他系此地人，革后家居，今打听得都中奏准起复旧员之信，他便四下里寻情找门路，忽遇见雨村，故忙道喜。二人见了礼，张如圭便将此信告知雨村。&lt;br /&gt;
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Yue-ts'un, turning round in a hurry, perceived that the speaker was no other than a certain Chang Ju-kuei, an old colleague of his, who had been denounced and deprived of office, on account of some case or other; a native of that district, who had, since his degradation, resided in his home.Having come to hear the news that a memorial, presented in the capital, that the former officers (who had been cashiered) should be reinstated, had received the imperial consent, he had promptly done all he could, in every nook and corner, to obtain influence, and to find the means (of righting his position,) when he, unexpectedly, came across Yue-ts'un, to whom he therefore lost no time in offering his congratulations. The two friends exchanged the conventional salutations, and Chang Ju-kuei communicated the tidings to Yue-ts'un.&lt;br /&gt;
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==李瑞洋 Lǐ Ruìyáng 英语语言文学（英美文学） 女 202120081497==&lt;br /&gt;
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雨村欢喜，忙忙叙了两句，各自别去回家。冷子兴听得此言，便忙献计，令雨村央求林如海，转向都中去央烦贾政。雨村领其意而别，回至馆中，忙寻邸报看真确了。次日，面谋之如海。如海道：“天缘凑巧。&lt;br /&gt;
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==李姗 Lǐ Shān 英语语言文学（英美文学） 女 202120081498==&lt;br /&gt;
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因贱荆去世，都中家岳母念及小女无人依傍，前已遣了男女、船只来接，因小女未曾大痊，故尚未行。此刻正思送女进京。因向蒙教训之恩，未经酬报，遇此机会，岂有不尽心图报之理？弟已预筹之，修下荐书一封，托内兄务为周全，方可稍尽弟之鄙诚；&lt;br /&gt;
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==李双 Lǐ Shuāng 翻译学 女 202120081499==&lt;br /&gt;
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即有所费，弟于内家信中写明，不劳吾兄多虑。”雨村一面打恭，谢不释口；一面又问：“不知令亲大人现居何职？只怕晚生草率，不敢进谒。”如海笑道：“若论舍亲，与尊兄犹系一家，乃荣公之孙：大内兄现袭一等将军之职，名赦，字恩侯；&lt;br /&gt;
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==李文璇 Lǐ Wénxuán 英语语言文学（英美文学） 女 202120081500==&lt;br /&gt;
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二内兄名政，字存周，现任工部员外郎，其为人谦恭厚道，大有祖父遗风，非膏粱轻薄之流，故弟致书烦托，否则不但有污尊兄清操，即弟亦不屑为矣。”雨村听了，心下方信了昨日子兴之言，于是又谢了林如海。&lt;br /&gt;
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==李雯 Lǐ Wén 英语语言文学（英美文学） 女 202120081501==&lt;br /&gt;
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如海又说：“择了出月初二日小女入都，吾兄即同路而往，岂不两便？”雨村唯唯听命，心中十分得意。如海遂打点礼物并饯行之事，雨村一一领了。那女学生原不忍离亲而去，无奈他外祖母必欲其往，且兼如海说：“汝父年已半百，再无续室之意；&lt;br /&gt;
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==李新星 Lǐ Xīnxīng 亚非语言文学 女 202120081503==&lt;br /&gt;
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且汝多病，年又极小，上无亲母教养，下无姊妹扶持。今去依傍外祖母及舅氏姊妹，正好减我内顾之忧，如何不去？”黛玉听了，方洒泪拜别，随了奶娘及荣府中几个老妇登舟而去。雨村另有船只，带了两个小童，依附黛玉而行。&lt;br /&gt;
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==李怡 Lǐ Yí 法语语言文学 女 202120081504==&lt;br /&gt;
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一日到了京都，雨村先整了衣冠，带着童仆，拿了宗侄的名帖，至荣府门上投了。彼时贾政已看了妹丈之书，即忙请入相会。见雨村相貌魁伟，言谈不俗；且这贾政最喜的是读书人，礼贤下士，拯溺救危，大有祖风；况又系妹丈致意：因此优待雨村，更又不同。&lt;br /&gt;
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==刘沛婷 Liú Pèitíng 英语语言文学（英美文学） 女 202120081505==&lt;br /&gt;
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便极力帮助，题奏之日，谋了一个复职。不上两月，便选了金陵应天府，辞了贾政，择日到任去了，不在话下。且说黛玉自那日弃舟登岸时，便有荣府打发轿子并拉行李车辆伺候。这黛玉尝听得母亲说，他外祖母家与别人家不同。&lt;br /&gt;
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==刘胜楠 Liú Shèngnán 翻译学 女 202120081506==&lt;br /&gt;
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他近日所见的这几个三等的仆妇，吃穿用度，已是不凡；何况今至其家，都要步步留心，时时在意，不要多说一句话，不可多行一步路，恐被人耻笑了去。自上了轿，进了城，从纱窗中瞧了一瞧，其街市之繁华，人烟之阜盛，自非别处可比。&lt;br /&gt;
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==刘薇 Liú Wēi 国别 女 202120081507==&lt;br /&gt;
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又行了半日，忽见街北蹲着两个大石狮子，三间兽头大门，门前列坐着十来个华冠丽服之人。正门不开，只东、西两角门有人出入。正门之上有一匾，匾上大书“敕造宁国府”五个大字。黛玉想道：“这是外祖的长房了。”&lt;br /&gt;
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==刘晓 Liú Xiǎo 英语语言文学（英美文学） 女 202120081508==&lt;br /&gt;
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又往西不远，照样也是三间大门，方是荣国府，却不进正门，只由西角门而进。轿子抬着走了一箭之远，将转弯时便歇了轿，后面的婆子也都下来了。另换了四个眉目秀洁的十七八岁的小厮上来抬着轿子，众婆子步下跟随。&lt;br /&gt;
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==刘越 Liú Yuè 亚非语言文学 女 202120081509==&lt;br /&gt;
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至一垂花门前落下，那小厮俱肃然退出。众婆子上前打起轿帘，扶黛玉下了轿。黛玉扶着婆子的手，进了垂花门，两边是超手游廊，正中是穿堂，当地放着一个紫檀架子大理石屏风。转过屏风，小小三间厅房。&lt;br /&gt;
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==刘运心 Liú Yùnxīn 英语语言文学（英美文学） 女 202120081510==&lt;br /&gt;
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厅后便是正房大院：正面五间上房，皆是雕梁画栋；两边穿山游廊、厢房，挂着各色鹦鹉、画眉等雀鸟。台阶上坐着几个穿红着绿的丫头，一见他们来了，都笑迎上来道：“刚才老太太还念诵呢，可巧就来了。”于是三四人争着打帘子。一面听得人说：“林姑娘来了。”&lt;br /&gt;
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==罗安怡 Luó Ānyí 英语语言文学（英美文学） 女 202120081511==&lt;br /&gt;
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黛玉方进房，只见两个人扶着一位鬓发如银的老母迎上来。黛玉知是外祖母了，正欲下拜，早被外祖母抱住，搂入怀中，“心肝儿肉”叫着大哭起来。当下侍立之人无不下泪，黛玉也哭个不休。众人慢慢解劝，那黛玉方拜见了外祖母。&lt;br /&gt;
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==罗曦 Luó Xī 英语语言文学（英美文学） 女 202120081512==&lt;br /&gt;
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贾母方一一指与黛玉道：“这是你大舅母。这是二舅母。这是你先前珠大哥的媳妇珠大嫂子。”黛玉一一拜见。贾母又说：“请姑娘们。今日远客来了，可以不必上学去。”众人答应了一声，便去了两个。&lt;br /&gt;
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==马新 Mǎ Xīn 外国语言学及应用语言学 女 202120081513==&lt;br /&gt;
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不一时，只见三个奶妈并五六个丫鬟，拥着三位姑娘来了：第一个肌肤微丰，身材合中，腮凝新荔，鼻腻鹅脂，温柔沉默，观之可亲；第二个削肩细腰，长挑身材，鸭蛋脸儿，俊眼修眉，顾盼神飞，文彩精华，见之忘俗；&lt;br /&gt;
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In a little while, three grannies and five or six servant girls turned up, clustering with three ladies. The first was somewhere plump in figure and of average height; her cheek was in beautiful shape, like a fresh lichee; her nose was glossy like the goose grease; she was gentle and quiet in nature, who looks very friendly. The second  was thin and tall with an oval face, sparking eyes and long eyebrows; her elegance and quick-witted mind tickle people’s fancy, letting them forget everything vulgar.&lt;br /&gt;
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==毛雅文 Máo Yǎwén 英语语言文学（英美文学） 女 202120081514==&lt;br /&gt;
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第三个身量未足，形容尚小：其钗环裙袄，三人皆是一样的妆束。黛玉忙起身，迎上来见礼，互相厮认，归了坐位。丫鬟送上茶来。不过叙些黛玉之母如何得病，如何请医服药，如何送死发丧。不免贾母又伤感起来，因说：“我这些女孩儿，所疼的独有你母亲。&lt;br /&gt;
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The third one was not yet fully grown, and she still had the face of a child. All the three girls were dressed in similar garments, that is, the tunics and the skirts with the same bracelets and head ornaments. Daiyu hastily rose to greet politely these cousins, and then they introduced to and acquainted with each other, after which they took seats while the maids served the tea. All their talk now was about Daiyu's mother: the culprit for her illness, the medicine that the doctors prescribed for treating her disease, and the conduction of her funeral and mourning ceremonies. Inevitably, the Lady Dowager couldn't help being affected painfully. &amp;quot;Of all my chilren I loved your mother best,&amp;quot; she told Daiyu.--[[User:Mao Yawen|Mao Yawen]] ([[User talk:Mao Yawen|talk]]) 07:49, 11 December 2021 (UTC)&lt;br /&gt;
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==毛优 Máo Yōu 俄语语言文学 女 202120081515==&lt;br /&gt;
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今一旦先我而亡，不得见面，怎不伤心！”说着，携了黛玉的手，又哭起来。众人都忙相劝慰，方略略止住。众人见黛玉年纪虽小，其举止言谈不俗；身体面貌虽弱不胜衣，却有一段风流态度，便知他有不足之症。&lt;br /&gt;
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==牟一心 Móu Yīxīn 英语语言文学（英美文学） 女 202120081516==&lt;br /&gt;
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因问：“常服何药？为何不治好了？”黛玉道：“我自来如此，从会吃饭时便吃药到如今了，经过多少名医，总未见效。那一年我才三岁，记得来了一个癞头和尚，说要化我去出家，我父母自是不从。&lt;br /&gt;
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So they asked:&amp;quot; What medicine do you usually take? Why doesn't it work?&amp;quot; Daiyu replied:&amp;quot; I am used to getting along with my disease. I have been taking medicine since I could eat. A lot of famous daocters cannot contribute to my illness.When I was three years old, a monk with favus on the head came to persuade me to become a nun,but my parents declined him.--[[User:Mou Yixin|Mou Yixin]] ([[User talk:Mou Yixin|talk]]) 08:07, 11 December 2021 (UTC)&lt;br /&gt;
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==彭瑞雪 Péng Ruìxuě 法语语言文学 女 202120081517==&lt;br /&gt;
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他又说：‘既舍不得他，但只怕他的病，一生也不能好的；若要好时，除非从此以后，总不许见哭声，除父母之外，凡有外亲，一概不见，方可平安了此一生。’这和尚疯疯癫癫，说了这些不经之谈，也没人理他。&lt;br /&gt;
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==秦建安 Qín Jiànān 外国语言学及应用语言学 女 202120081518==&lt;br /&gt;
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如今还是吃人参养荣丸。”贾母道：“这正好，我这里正配丸药呢，叫他们多配一料就是了。”一语未完，只听后院中有笑语声，说：“我来迟了，没得迎接远客。”黛玉思忖道：“这些人个个皆敛声屏气如此，这来者是谁，这样放诞无礼？”&lt;br /&gt;
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==邱婷婷 Qiū Tíngtíng 英语语言文学（语言学） 女 202120081519==&lt;br /&gt;
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心下想时，只见一群媳妇、丫鬟拥着一个丽人，从后房进来。这个人打扮与姑娘们不同，彩绣辉煌，恍若神妃仙子：头上戴着金丝八宝攒珠髻，绾着朝阳五凤挂珠钗；项上戴着赤金盘螭缨络圈；身上穿着缕金百蝶穿花大红云缎窄褃袄，外罩五彩刻丝石青银鼠褂；&lt;br /&gt;
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Lin Daiyu was still thinking about it when she saw a group of daughters-in-law and maids embracing a beautiful woman who came in from the back room. This woman dresses differently from the girls,  with colorful embroidery splendor,  and looks like a divine concubine fairy: wearing a gold silk eight treasure save beads bun and the sunrise five phoenix hanging beads hairpin on the head; a red gold coiled chi dragon tassel ring around the neck; wearing the bright red made of cloud satin material narrow lining cotton jacket with decorations of wisps of gold hundred butterflies and flowers, and  the outer coat with decorations of the multicolored engraved silk stone green silver mouse.--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:47, 11 December 2021 (UTC)&lt;br /&gt;
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==饶金盈 Ráo Jīnyíng 英语语言文学（语言学） 女 202120081520==&lt;br /&gt;
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下着翡翠撒花洋绉裙。一双丹凤三角眼，两弯柳叶吊梢眉。身量苗条，体格风骚。粉面含春威不露，丹唇未启笑先闻。黛玉连忙起身接见。贾母笑道：“你不认得他。他是我们这里有名的一个泼辣货，南京所谓‘辣子’，你只叫他‘凤辣子’就是了。”&lt;br /&gt;
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Wang Xifeng wore a jadeite flowered dress underneath, with a pair of phoenix triangle eyes and two curved willow hanging eyebrows. Her figure is slim and her physique is flirtatious. She can be described with “ the face is delicate and beautiful, spirited character of her is not revealed in the appearance, red lips beautiful, not yet open mouth first heard her laugh”. Lin Daiyu hastily got up to curtsy to  her. Lady Dowager said with a smile, &amp;quot;You do not recognize her. She is famous for her boldness and vigorousness  here, she is truly the 'chilli woman' in Nanjing dialect, you can just call her ' chilli Feng'.&amp;quot;--[[User:Rao Jinying|Rao Jinying]] ([[User talk:Rao Jinying|talk]]) 07:35, 11 December 2021 (UTC)&lt;br /&gt;
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==石丽青 Shí Lìqīng 英语语言文学（英美文学） 女 202120081521==&lt;br /&gt;
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黛玉正不知以何称呼，众姊妹都忙告诉黛玉道：“这是琏二嫂子。”黛玉虽不曾识面，听见他母亲说过：大舅贾赦之子贾琏，娶的就是二舅母王氏的内侄女，自幼假充男儿教养，学名叫做王熙凤。黛玉忙陪笑见礼，以“嫂”呼之。&lt;br /&gt;
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==孙雅诗 Sūn Yǎshī 外国语言学及应用语言学 女 202120081522==&lt;br /&gt;
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这熙凤携着黛玉的手，上下细细打量了一回，便仍送至贾母身边坐下，因笑道：“天下真有这样标致人儿！我今日才算看见了。况且这通身的气派，竟不像老祖宗的外孙女儿，竟是嫡亲的孙女儿似的，怨不得老祖宗天天嘴里心里放不下。&lt;br /&gt;
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==王李菲 Wáng Lǐfēi 英语语言文学（英美文学） 女 202120081523==&lt;br /&gt;
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只可怜我这妹妹这么命苦，怎么姑妈偏就去世了呢？”说着便用帕拭泪。贾母笑道：“我才好了，你又来招我；你妹妹远路才来，身子又弱，也才劝住了：快别再提了。”&lt;br /&gt;
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==王逸凡 Wáng Yìfán 亚非语言文学 女 202120081524==&lt;br /&gt;
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熙凤听了，忙转悲为喜道：“正是呢，我一见了妹妹，一心都在他身上，又是喜欢，又是伤心，竟忘了老祖宗了。该打，该打！”又忙拉着黛玉的手问道：“妹妹几岁了？可也上过学？现吃什么药？在这里别想家。&lt;br /&gt;
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==王镇隆 Wáng Zhènlóng 英语语言文学（英美文学） 男 202120081525==&lt;br /&gt;
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要什么吃的，什么玩的，只管告诉我；丫头、老婆们不好，也只管告诉我。”黛玉一一答应。一面熙凤又问人：“林姑娘的东西可搬进来了？带了几个人来？你们赶早打扫两间屋子，叫他们歇歇儿去。”&lt;br /&gt;
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==卫怡雯 Wèi Yíwén 英语语言文学（英美文学） 女 202120081526==&lt;br /&gt;
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说话时已摆了果茶上来，熙凤亲自布让。又见二舅母问他：“月钱放完了没有？”熙凤道：“放完了。刚才带了人到后楼上找缎子，找了半日，也没见昨儿太太说的那个。想必太太记错了。”王夫人道：“有没有，什么要紧！”&lt;br /&gt;
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==魏楚璇 Wèi Chǔxuán 英语语言文学（英美文学） 女 202120081527==&lt;br /&gt;
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因又说道：“该随手拿出两个来，给你这妹妹裁衣裳啊。等晚上想着，再叫人去拿罢。”熙凤道：“我倒先料着了，知道妹妹这两日必到，我已经预备下了。等太太回去过了目，好送来。”&lt;br /&gt;
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==魏兆妍 Wèi Zhàoyán 英语语言文学（英美文学） 女 202120081528==&lt;br /&gt;
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王夫人一笑，点头不语。当下茶果已撤，贾母命两个老嬷嬷带黛玉去见两个舅舅去。维时贾赦之妻邢氏忙起身笑回道：“我带了外甥女儿过去，到底便宜些。”&lt;br /&gt;
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==吴婧悦 Wú Jìngyuè 俄语语言文学 女 202120081529==&lt;br /&gt;
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贾母笑道：“正是呢，你也去罢，不必过来了。”那邢夫人答应了，遂带着黛玉，和王夫人作辞，大家送至穿堂。垂花门前早有众小厮拉过一辆翠幄青油车来，邢夫人携了黛玉坐上，众老婆们放下车帘，方命小厮们抬起。&lt;br /&gt;
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==吴映红 Wú Yìnghóng 日语语言文学 女 202120081530==&lt;br /&gt;
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拉至宽处，驾上驯骡，出了西角门往东，过荣府正门，入一黑油漆大门内，至仪门前方下了车。邢夫人挽着黛玉的手进入院中。黛玉度其处必是荣府中之花园隔断过来的。&lt;br /&gt;
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==肖毅瑶 Xiāo Yìyáo 英语语言文学（英美文学） 女 202120081531==&lt;br /&gt;
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进入三层仪门，果见正房、厢房、游廊悉皆小巧别致，不似那边的轩峻壮丽，且院中随处之树木山石皆好。及进入正室，早有许多艳妆丽服之姬妾、丫鬟迎着。邢夫人让黛玉坐了；一面令人到外书房中请贾赦。&lt;br /&gt;
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==谢佳芬 Xiè Jiāfēn 英语语言文学（英美文学） 女 202120081532==&lt;br /&gt;
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一时回来说：“老爷说了：‘连日身上不好，见了姑娘，彼此伤心，暂且不忍相见。劝姑娘不必伤怀想家，跟着老太太和舅母，是和家里一样的。姐妹们虽拙，大家一处作伴，也可以解些烦闷。或有委屈之处，只管说，别外道了才是。’”&lt;br /&gt;
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==谢庆琳 Xiè Qìnglín 俄语语言文学 女 202120081533==&lt;br /&gt;
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黛玉忙站起身来，一一答应了。再坐一刻便告辞，邢夫人苦留吃过饭去。黛玉笑回道：“舅母爱惜赐饭，原不应辞；只是还要过去拜见二舅舅，恐去迟了不恭，异日再领。望舅母容谅。”&lt;br /&gt;
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==熊敏 Xióng Mǐn 英语语言文学（英美文学） 女 202120081534==&lt;br /&gt;
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邢夫人道：“这也罢了。”遂命两个嬷嬷用方才坐来的车送过去。于是黛玉告辞。邢夫人送至仪门前，又嘱咐了众人几句，眼看着车去了方回来。一时黛玉进入荣府，下了车，只见一条大甬路直接出大门来。&lt;br /&gt;
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==徐敏赟 Xú Mǐnyūn 语言智能与跨文化传播研究 男 202120081535==&lt;br /&gt;
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众嬷嬷引着，便往东转弯，走过一座东西穿堂，向南大厅之后，仪门内大院落：上面五间大正房，两边厢房，鹿顶耳房钻山，四通八达，轩昂壮丽，比各处不同。黛玉便知这方是正内室。&lt;br /&gt;
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==颜静 Yán Jìng 语言智能与跨文化传播研究 女 202120081536==&lt;br /&gt;
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进入堂屋，抬头迎面先见一个赤金九龙青地大匾，匾上写着斗大三个字，是“荣禧堂”；后有一行小字：“某年月日书赐荣国公贾源”，又有“万幾宸翰”之宝。大紫檀雕螭案上，设着三尺多高青绿古铜鼎，悬着待漏随朝墨龙大画，一边是錾金彝，一边是玻璃盆。&lt;br /&gt;
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==颜莉莉 Yán Lìlì 国别 女 202120081537==&lt;br /&gt;
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地下两溜十六张楠木圈椅。又有一副对联，乃是乌木联牌镶着錾金字迹，道是：座上珠玑昭日月，堂前黼黻焕烟霞。下面一行小字是“世教弟勋袭东安郡王穆莳拜手书”。原来王夫人时常居坐宴息也不在这正室中，只在东边的三间耳房内。&lt;br /&gt;
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==颜子涵 Yán Zǐhán 国别 女 202120081538==&lt;br /&gt;
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于是嬷嬷们引黛玉进东房门来。临窗大炕上铺着猩红洋毯，正面设着大红金钱蟒引枕，秋香色金钱蟒大条褥；两边设一对梅花式洋漆小几：左边几上摆着文王鼎，鼎旁匙箸、香盒；右边几上摆着汝窑美人觚，里面插着时鲜花草。&lt;br /&gt;
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==阳佳颖 Yáng Jiāyǐng 国别 女 202120081540==&lt;br /&gt;
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地下面，西一溜四张大椅，都搭着银红撒花椅搭，底下四副脚踏；两边又有一对高几，几上茗碗、瓶花俱备。其馀陈设，不必细说。老嬷嬷让黛玉上炕坐。炕沿上却也有两个锦褥对设。&lt;br /&gt;
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==杨爱江 Yáng Àijiāng 英语语言文学（语言学） 女 202120081541==&lt;br /&gt;
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黛玉度其位次，便不上炕，只就东边椅上坐了。本房的丫鬟忙捧上茶来。黛玉一面吃了，打量这些丫鬟们妆饰衣裙，举止行动，果与别家不同。&lt;br /&gt;
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==杨堃 Yáng Kūn 法语语言文学 女 202120081542==&lt;br /&gt;
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茶未吃了，只见一个穿红绫袄、青绸掐牙背心的一个丫鬟走来笑道：“太太说，请林姑娘到那边坐罢。”老嬷嬷听了，于是又引黛玉出来，到了东廊三间小正房内。&lt;br /&gt;
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==杨柳青 Yáng Liǔqīng 英语语言文学（英美文学） 女 202120081543==&lt;br /&gt;
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正面炕上横设一张炕桌，上面堆着书籍、茶具；靠东壁面西设着半旧的青缎靠背、引枕。王夫人却坐在西边下首，亦是半旧青缎靠背、坐褥。见黛玉来了，便往东让。&lt;br /&gt;
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==叶维杰 Yè Wéijié 国别 男 202120081544==&lt;br /&gt;
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黛玉心中料定这是贾政之位。因见挨炕一溜三张椅子上也搭着半旧的弹花椅袱，黛玉便向椅上坐了。王夫人再三让他上炕，他方挨王夫人坐下。王夫人因说：“你舅舅今日斋戒去了，再见罢。&lt;br /&gt;
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==易扬帆 Yì Yángfān 英语语言文学（英美文学） 女 202120081545==&lt;br /&gt;
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只是有句话嘱咐你：你三个姐妹倒都极好，以后一处念书认字，学针线，或偶一玩笑，却都有个尽让的。我就只一件不放心：我有一个孽根祸胎，是家里的混世魔王，今日因往庙里还愿去，尚未回来，晚上你看见就知道了。&lt;br /&gt;
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==殷慧珍 Yīn Huìzhēn 英语语言文学（英美文学） 女 202120081546==&lt;br /&gt;
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你以后总不用理会他，你这些姐姐妹妹都不敢沾惹他的。”黛玉素闻母亲说过：“有个内侄，乃衔玉而生，顽劣异常，不喜读书，最喜在内帏厮混。外祖母又溺爱，无人敢管。”&lt;br /&gt;
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==殷美达 Yīn Měidá 英语语言文学（语言学） 女 202120081547==&lt;br /&gt;
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今见王夫人所说，便知是这位表兄。一面陪笑道：“舅母所说，可是衔玉而生的？在家时，记得母亲常说：这位哥哥比我大一岁，小名就叫宝玉，性虽憨顽，说待姊妹们却是极好的。&lt;br /&gt;
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==尹媛 Yǐn Yuán 英语语言文学（英美文学） 女 202120081548==&lt;br /&gt;
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况我来了，自然和姊妹们一处，弟兄们是另院别房，岂有沾惹之理？”王夫人笑道：“你不知道原故。他和别人不同，自幼因老太太疼爱，原系和姐妹们一处娇养惯了的。&lt;br /&gt;
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==詹若萱 Zhān Ruòxuān 英语语言文学（英美文学） 女 202120081549==&lt;br /&gt;
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若姐妹们不理他，他倒还安静些；若一日姐妹们和他多说了一句话，他心上一喜，便生出许多事来：所以嘱咐你别理会他。他嘴里一时甜言蜜语，一时有天没日，疯疯傻傻，只休信他。”黛玉一一的都答应着。&lt;br /&gt;
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==张秋怡 Zhāng Qiūyí 亚非语言文学 女 202120081550==&lt;br /&gt;
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忽见一个丫鬟来说：“老太太那里传晚饭了。”王夫人忙携了黛玉，出后房门，由后廊往西，出了角门，是一条南北甬路，南边是倒座三间小小抱厦厅，北边立着一个粉油大影壁，后有一个半大门，小小一所房屋。&lt;br /&gt;
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==张扬 Zhāng Yáng 国别 男 202120081551==&lt;br /&gt;
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王夫人笑指向黛玉道：“这是你凤姐姐的屋子。回来你好往这里找他去，少什么东西，只管和他说就是了。”这院门上也有几个才总角的小厮，都垂手侍立。王夫人遂携黛玉穿过一个东西穿堂，便是贾母的后院了。&lt;br /&gt;
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Lady King smiled at Mascara Jade Pearl and said: &amp;quot;This is your sister Phoenix's house. If you come back, you can find her here. And if there's anything missing, just tell her.&amp;quot; On the gate of the courtyard, there were also several young boys who were only in their childhood, all standing with their hands down. Lady King then took Mascara Jade Pearl through an east-west hall, which was Grandma Merchant's backyard.--[[User:Zhang Yang|Zhang Yang]] ([[User talk:Zhang Yang|talk]]) 07:30, 11 December 2021 (UTC)&lt;br /&gt;
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==张怡然 Zhāng Yírán 俄语语言文学 女 202120081552==&lt;br /&gt;
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于是进入后房门，已有许多人在此伺候，见王夫人来，方安设桌椅；贾珠之妻李氏捧杯，熙凤安箸，王夫人进羹。贾母正面榻上独坐，两旁四张空椅。熙凤忙拉黛玉在左边第一张椅子上坐下，黛玉十分推让。&lt;br /&gt;
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==钟义菲 Zhōng Yìfēi 英语语言文学（英美文学） 女 202120081553==&lt;br /&gt;
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贾母笑道：“你舅母和嫂子们是不在这里吃饭的。你是客，原该这么坐。”黛玉方告了坐，就坐了。贾母命王夫人也坐了。迎春姊妹三个告了坐，方上来：迎春坐右手第一，探春左第二，惜春右第二。&lt;br /&gt;
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==钟雨露 Zhōng Yǔlù 英语语言文学（英美文学） 女 202120081554==&lt;br /&gt;
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旁边丫鬟执着拂尘、漱盂、巾帕，李纨、凤姐立于案边布让；外间伺候的媳妇、丫鬟虽多，却连一声咳嗽不闻。饭毕，各各有丫鬟用小茶盘捧上茶来。当日林家教女以惜福养身，每饭后必过片时方吃茶，不伤脾胃；&lt;br /&gt;
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==周玖 Zhōu Jiǔ 英语语言文学（英美文学） 女 202120081555==&lt;br /&gt;
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今黛玉见了这里许多规矩不似家中，也只得随和些。接了茶，又有人捧过漱盂来，黛玉也漱了口，又盥手毕。然后又捧上茶来，这方是吃的茶。贾母便说：“你们去罢，让我们自在说说话儿。”&lt;br /&gt;
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==周俊辉 Zhōu Jùnhuī 法语语言文学 女 202120081556==&lt;br /&gt;
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王夫人遂起身，又说了两句闲话儿，方引李、凤二人去了。贾母因问黛玉念何书，黛玉道：“刚念了《四书》。”黛玉又问姊妹读何书，贾母道：“读什么书，不过认几个字罢了。”&lt;br /&gt;
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==周巧 Zhōu Qiǎo 英语语言文学（语言学） 女 202120081557==&lt;br /&gt;
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一语未了，只听外面一阵脚步响，丫鬟进来报道：“宝玉来了。”黛玉心想：“这个宝玉，不知是怎样个惫懒人呢。”及至进来一看，却是位青年公子：头上戴着束发嵌宝紫金冠，齐眉勒着二龙戏珠金抹额；&lt;br /&gt;
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==周清 Zhōu Qīng 法语语言文学 女 202120081558==&lt;br /&gt;
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一件二色金百蝶穿花大红箭袖，束着五彩丝攒花结长穗宫绦，外罩石青起花八团倭缎排穗褂；登着青缎粉底小朝靴。面若中秋之月，色如春晓之花；鬓若刀裁，眉如墨画，鼻如悬胆，睛若秋波。&lt;br /&gt;
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==周小雪 Zhōu Xiǎoxuě 日语语言文学 女 202120081559==&lt;br /&gt;
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虽怒时而似笑，即嗔视而有情。项上金螭缨络，又有一根五色丝绦，系着一块美玉。黛玉一见，便吃一大惊，心中想道：“好生奇怪：倒像在那里见过的，何等眼熟！”只见这宝玉向贾母请了安，贾母便命：“去见你娘来。”&lt;br /&gt;
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==朱素珍 Zhū Sùzhēn 英语语言文学（语言学） 女 202120081561==&lt;br /&gt;
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即转身去了。一会再来时已换了冠带：头上周围一转的短发都结成小辫，红丝结束，共攒至顶中胎发，总编一根大辫，黑亮如漆，从顶至梢，一串四颗大珠，用金八宝坠脚；身上穿着银红撒花半旧大袄；仍旧带着项圈、宝玉、寄名锁、护身符等物；&lt;br /&gt;
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==邹岳丽 Zōu Yuèlí 日语语言文学 女 202120081562==&lt;br /&gt;
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下面半露松绿撒花绫裤，锦边弹墨袜，厚底大红鞋。越显得面如傅粉，唇若施脂；转盼多情，语言若笑。天然一段风韵，全在眉梢；平生万种情思，悉堆眼角。看其外貌，最是极好，却难知其底细。&lt;br /&gt;
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==Nadia 202011080004==&lt;br /&gt;
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后人有《西江月》二词批的极确，词曰：&lt;br /&gt;
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==Mahzad Heydarian 玛莎 202021080004==&lt;br /&gt;
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无故寻愁觅恨，有时似傻如狂。&lt;br /&gt;
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==Mariam toure 2020GBJ002301==&lt;br /&gt;
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纵然生得好皮囊，腹内原来草莽。&lt;br /&gt;
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==Rouabah Soumaya 202121080001==&lt;br /&gt;
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潦倒不通庶务，愚顽怕读文章。&lt;br /&gt;
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==Muhammad Numan 202121080002==&lt;br /&gt;
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行为偏僻性乖张，那管世人诽谤。&lt;br /&gt;
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==Atta Ur Rahman 202121080003==&lt;br /&gt;
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又曰：富贵不知乐业，贫穷难耐凄凉。&lt;br /&gt;
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==Muhammad Saqib Mehran 202121080004==&lt;br /&gt;
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可怜辜负好时光，于国于家无望。&lt;br /&gt;
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==Zohaib Chand 202121080005==&lt;br /&gt;
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天下无能第一，古今不肖无双。&lt;br /&gt;
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==Jawad Ahmad 202121080006==&lt;br /&gt;
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寄言纨袴与膏粱，莫效此儿形状。&lt;br /&gt;
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==Nizam Uddin 202121080007==&lt;br /&gt;
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却说贾母见他进来，笑道：“外客没见就脱了衣裳了，还不去见你妹妹呢。”&lt;br /&gt;
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==Öncü 202121080008==&lt;br /&gt;
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宝玉早已看见了一个袅袅婷婷的女儿，便料定是林姑妈之女，忙来见礼。&lt;br /&gt;
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==Akira Jantarat 202121080009==&lt;br /&gt;
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归了坐细看时，真是与众各别。&lt;br /&gt;
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==Benjamin Wellsand 202111080118==&lt;br /&gt;
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只见：两弯似蹙非蹙笼烟眉，一双似喜非喜含情目。&lt;br /&gt;
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==Asep Budiman 202111080020==&lt;br /&gt;
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态生两靥之愁，娇袭一身之病。&lt;br /&gt;
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==Ei Mon Kyaw 202111080021==&lt;br /&gt;
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泪光点点，娇喘微微。&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
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		<title>Comp Stud Trans EN 5</title>
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		<updated>2021-12-11T07:05:07Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* References */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. ''Word'', 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
Eugene, Nida. (1964). ''Toward a Science of Translating''. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
Evan-Zohar, Itamar. (1978). ''The Position of Translated Literature within the Literary Polysystem''. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
Hrisztova-Gotthardt, Hrisztalina., and Varga Melita, eds. (2014). ''Introduction to Paremiology: A Comprehensive Guide to Proverb Studies''. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
Lefevere, Ander. (1977). ''Translation Literature: The German Tradition from Luther to Rosenzweig''. Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
Manser, Martin. (2007). ''The Facts on File Dictionary of Proverbs''. 2 vols. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
Mieder, Wolfgang. (2009). ''International Bibliography of Paremiology and Phraseology'', 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
Norrick, Neal. (2015). ''1 Subject Area, Terminology, Proverb Definitions, Proverb Features''. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
Obelkevich, James. (1987). ''Proverbs and Social History''. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. (2001). ''ABC Dictionary of Chinese Proverbs (Yanyu''). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
Shuttleworth, Mark, and Cowie Moira. (1997). ''Dictionary of Translation Studies''. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. (1995). ''The Translator's Invisibility''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=130954</id>
		<title>Comp Stud Trans EN 5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Comp_Stud_Trans_EN_5&amp;diff=130954"/>
		<updated>2021-12-11T06:49:27Z</updated>

		<summary type="html">&lt;p&gt;Ma Xin: /* The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002, 24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.&lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
&lt;br /&gt;
All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. Word, 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
Eugene, Nida. (1964). Toward a Science of Translating. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
Evan-Zohar, Itamar. (1978). The Position of Translated Literature within the Literary Polysystem. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
Hrisztova-Gotthardt, Hrisztova-Gotthardt., &amp;amp; Varga, Melita. (Eds.). (2014). Introduction to Paremiology: A Comprehensive Guide to Proverb Studies. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
Lefevere, Ander. (1977). Translation Literature: The German Tradition from Luther to Rosenzweig, Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
Manser, Martin. (2007). The Facts on File Dictionary of Proverbs. 2nd revised edition. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
Mieder, Wolfgang. (2009). International Bibliography of Paremiology and Phraseology, 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
Norrick, Neal. (2015). 1 Subject Area, Terminology, Proverb Definitions, Proverb Features. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
Obelkevich, James. (1987). Proverbs and Social History. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. (2001). ABC Dictionary of Chinese Proverbs (Yanyu). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
Shuttleworth, Mark. &amp;amp; Cowie, Moira. (1997). Dictionary of Translation Studies. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. (1995). The Translator's Invisibility. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:59, 10 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Proverb Translation about Religious Culture */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.  &lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
&lt;br /&gt;
All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993, 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God.&lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
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Written by --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:59, 10 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Proverb Translation about Ecology */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
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马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.  &lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng and Qiu xiaoqin 2019, 52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003, xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor.&lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993: 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God. &lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. Word, 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
Eugene, Nida. (1964). Toward a Science of Translating. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
Evan-Zohar, Itamar. (1978). The Position of Translated Literature within the Literary Polysystem. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
Hrisztova-Gotthardt, Hrisztova-Gotthardt., &amp;amp; Varga, Melita. (Eds.). (2014). Introduction to Paremiology: A Comprehensive Guide to Proverb Studies. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
Lefevere, Ander. (1977). Translation Literature: The German Tradition from Luther to Rosenzweig, Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
Manser, Martin. (2007). The Facts on File Dictionary of Proverbs. 2nd revised edition. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
Mieder, Wolfgang. (2009). International Bibliography of Paremiology and Phraseology, 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
Norrick, Neal. (2015). 1 Subject Area, Terminology, Proverb Definitions, Proverb Features. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
Obelkevich, James. (1987). Proverbs and Social History. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. (2001). ABC Dictionary of Chinese Proverbs (Yanyu). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
Shuttleworth, Mark. &amp;amp; Cowie, Moira. (1997). Dictionary of Translation Studies. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. (1995). The Translator's Invisibility. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:59, 10 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Introduction */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth and Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.  &lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng &amp;amp; Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
&lt;br /&gt;
Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
&lt;br /&gt;
Dog does not eat dog (M-58);&lt;br /&gt;
&lt;br /&gt;
A dog is man’s best friend (M-58);&lt;br /&gt;
&lt;br /&gt;
狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
&lt;br /&gt;
In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993: 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. Word, 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
Eugene, Nida. (1964). Toward a Science of Translating. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
Evan-Zohar, Itamar. (1978). The Position of Translated Literature within the Literary Polysystem. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
Hrisztova-Gotthardt, Hrisztova-Gotthardt., &amp;amp; Varga, Melita. (Eds.). (2014). Introduction to Paremiology: A Comprehensive Guide to Proverb Studies. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
Lefevere, Ander. (1977). Translation Literature: The German Tradition from Luther to Rosenzweig, Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
Manser, Martin. (2007). The Facts on File Dictionary of Proverbs. 2nd revised edition. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
Mieder, Wolfgang. (2009). International Bibliography of Paremiology and Phraseology, 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
Norrick, Neal. (2015). 1 Subject Area, Terminology, Proverb Definitions, Proverb Features. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
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Obelkevich, James. (1987). Proverbs and Social History. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
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Rohsenow, John. (2001). ABC Dictionary of Chinese Proverbs (Yanyu). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
Shuttleworth, Mark. &amp;amp; Cowie, Moira. (1997). Dictionary of Translation Studies. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. (1995). The Translator's Invisibility. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
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Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
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Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
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Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:59, 10 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* The Translation Studies about Proverbs */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth &amp;amp; Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.  &lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova and Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng &amp;amp; Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
&lt;br /&gt;
Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
&lt;br /&gt;
All roads lead to Rome (M-6);&lt;br /&gt;
&lt;br /&gt;
Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
&lt;br /&gt;
有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
&lt;br /&gt;
The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
&lt;br /&gt;
Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
&lt;br /&gt;
when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
&lt;br /&gt;
春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
&lt;br /&gt;
Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
&lt;br /&gt;
All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
&lt;br /&gt;
Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
&lt;br /&gt;
Bread is the soul of wit (M-33).&lt;br /&gt;
&lt;br /&gt;
The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
&lt;br /&gt;
Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
&lt;br /&gt;
Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
&lt;br /&gt;
狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
&lt;br /&gt;
Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
&lt;br /&gt;
Good wine needs no bush ( M-109); &lt;br /&gt;
&lt;br /&gt;
酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
&lt;br /&gt;
There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993: 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
&lt;br /&gt;
Man proposes, God disposes (M-182);&lt;br /&gt;
&lt;br /&gt;
谋事在人, 成事在天 (W-518);  &lt;br /&gt;
&lt;br /&gt;
Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
&lt;br /&gt;
In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
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Written by --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:59, 10 December 2021 (UTC)&lt;/div&gt;</summary>
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		<summary type="html">&lt;p&gt;Ma Xin: /* The Translation Studies about Proverbs */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
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马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
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==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
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==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
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==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
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==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
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==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
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Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth &amp;amp; Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
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Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
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==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
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===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
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First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
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Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
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It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
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===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
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For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
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For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
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By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.  &lt;br /&gt;
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===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015, 7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
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So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova &amp;amp; Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
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On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007, 53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
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On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
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==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
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===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng &amp;amp; Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
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不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
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In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor. &lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
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Grass grows not upon the highway (M-300);&lt;br /&gt;
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热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993: 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
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情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God. &lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
&lt;br /&gt;
There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
&lt;br /&gt;
In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
&lt;br /&gt;
==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
&lt;br /&gt;
===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
&lt;br /&gt;
As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
Eugene, Nida. (1945). Linguistics and Ethnology in Translation-Problems. Word, 1/2, 194-208.&lt;br /&gt;
&lt;br /&gt;
Eugene, Nida. (1964). Toward a Science of Translating. Leiden: E. J. Brill.&lt;br /&gt;
&lt;br /&gt;
Evan-Zohar, Itamar. (1978). The Position of Translated Literature within the Literary Polysystem. The Translation Studies Reader. Routledge.&lt;br /&gt;
&lt;br /&gt;
Hrisztova-Gotthardt, Hrisztova-Gotthardt., &amp;amp; Varga, Melita. (Eds.). (2014). Introduction to Paremiology: A Comprehensive Guide to Proverb Studies. De Gruyter Open.&lt;br /&gt;
&lt;br /&gt;
Lefevere, Ander. (1977). Translation Literature: The German Tradition from Luther to Rosenzweig, Assen: Van Gorcum.&lt;br /&gt;
&lt;br /&gt;
Manser, Martin. (2007). The Facts on File Dictionary of Proverbs. 2nd revised edition. Infobase Publishing.&lt;br /&gt;
&lt;br /&gt;
Mieder, Wolfgang. (2009). International Bibliography of Paremiology and Phraseology, 2 vols. Berlin: de Gruyter.&lt;br /&gt;
&lt;br /&gt;
Norrick, Neal. (2015). 1 Subject Area, Terminology, Proverb Definitions, Proverb Features. In Introduction to Paremiology. De Gruyter Open Poland.&lt;br /&gt;
&lt;br /&gt;
Obelkevich, James. (1987). Proverbs and Social History. The Social History of Language. Cambridge: Cambridge University Press.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. (2001). ABC Dictionary of Chinese Proverbs (Yanyu). University of Hawaii press.&lt;br /&gt;
&lt;br /&gt;
Shuttleworth, Mark. &amp;amp; Cowie, Moira. (1997). Dictionary of Translation Studies. Manchester: St Jerome.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. (1995). The Translator's Invisibility. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Kou Fuming寇福明. (2007). 汉英谚语对比研究 [A Contrastive Study of Chinese and English Proverbs]. 中央民族大学 Minzu University of China.&lt;br /&gt;
&lt;br /&gt;
Liang Xiaohong 梁晓虹. (1993). 从佛教成语看佛教文化在中国的发展[The Development of Buddhist Culture in China Based on Buddhist Idioms]. 语言与文化多学科研究 [Multidiscipilinary Studies of Language and Culture]. 北京语言学院出版社 Beijing Language and Culture Institute Press.&lt;br /&gt;
&lt;br /&gt;
Liu Yanli 刘艳丽. &amp;amp; Yang Zijian杨自俭. (2002). 也谈“归化”与“异化” [On “Domestication” and “Foreignization”]. 中国翻译 Chinese Translation Journal(06) 22-26.&lt;br /&gt;
&lt;br /&gt;
Rohsenow, John. 罗圣豪. (2003). 论汉语谚语[On Chinese Proverbs]. 四川大学学报(哲学社会科学版) Journal of Sichuan University (Social Science Edition)(01) 62-70.&lt;br /&gt;
&lt;br /&gt;
Qiu Nengsheng 邱能生&amp;amp; Qiu xiaoqin邱晓琴. (2019). 文化差异背景下英汉习语翻译的异化和归化处理探微 [Foreignization vs. Domestication in Cross-cultural Idiom Translation].上海翻译 Shanghai Journal of Translation(01):51-56.&lt;br /&gt;
&lt;br /&gt;
Sun Zhili孙致礼. (2002). 中国的文学翻译:从归化趋向异化 [Chinese Literary Translation: from Domestication to Foreignization]. 中国翻译 Chinese Translation Journal(01) 39-43.&lt;br /&gt;
&lt;br /&gt;
Wang Dongfeng 王东风. (2002). 归化与异化:矛与盾的交锋? [About Domestication and Foreignization].中国翻译 Chinese Translation Journal(05) 26-28.&lt;br /&gt;
&lt;br /&gt;
Wen Duanzheng 温端政. (2011). 中国谚语大辞典 [Dictionary of Chinese Proverbs]. 上海辞书出版社 Shanghai Lexicographical Publishing House.&lt;br /&gt;
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Written by --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:59, 10 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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		<title>Comp Stud Trans EN 5</title>
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		<summary type="html">&lt;p&gt;Ma Xin: /* Assimilation vs. Alienation and Domestication vs. Foreignization */&lt;/p&gt;
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&lt;div&gt;=Chapter 5: A Comparative Study of Proverb Translation from the Perspective of Domestication and Foreignization=&lt;br /&gt;
从异化和归化中看中西方谚语翻译的差异&lt;br /&gt;
&lt;br /&gt;
马新，Ma Xin, Hunan Normal University, China&lt;br /&gt;
&lt;br /&gt;
==Abstract==&lt;br /&gt;
As a continuation of the dispute between literal translation and free translation, the conflict between domestication and foreignization has risen from the linguistic level to the level of literature, culture and thought. It further analyzes the cultural differences between the two languages in the translation process. Among various elements in languages, proverbs have been circulated in the Chinese and Western people’s lives for a long time due to their pronounced national characteristics and distinctive cultural connotations. In proverb translation, disparate understandings about source languages and target languages will reflect the complex historical origins of strong culture, weak culture, post-colonial culture, etc. Therefore, this paper reviews the historical development about domestication and foreignization debates between China and the West firstly. It then goes further to compare the differences about proverb translation in terms of ecological culture, language culture, religious culture, material culture and social culture based on Nida's classification of culture. By doing so, we try to summarize some different national consciousness behind them and get better understanding about the parallels and distinctions among them.&lt;br /&gt;
&lt;br /&gt;
==Key Words==&lt;br /&gt;
domestication; foreignization; proverb translation; cultural classification&lt;br /&gt;
&lt;br /&gt;
==中文摘要==&lt;br /&gt;
作为直译和意译之争的延续，归化和异化之争由语言层面，上升到文学、文化、思想的高度，进一步剖析了翻译过程中两种语言背后的文化差异。谚语长期流传于中西方民间，带有浓厚的民族色彩和鲜明的文化内涵。在谚语翻译中，对于保留其本身异域性或是倾向于译入语读者问题的认识，体现着强势文化、弱势文化、后殖民主义文化等复杂的历史渊源。由此，本文基于中西方归化与异化论战史料，结合Nida的文化五类分理论，从生态文化、语言文化、宗教文化、物质文化和社会文化来比较中西方谚语翻译的差异，在源语文化和译语文化的不同处理上，揭示其背后所蕴含的不同民族意识。从而在比较中体味文化的差异。&lt;br /&gt;
 &lt;br /&gt;
==关键词==&lt;br /&gt;
归化；异化；谚语翻译；文化分类&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
In China or western countries, there is a long history about the arguments between domestication and foreignization. By looking back to it, the earliest exploration of Chinese studies could be traced back to the dispute between “Text” and “Quality” in the Buddhist Sutra translation of Han Dynasty. Meanwhile, scholars like Cicero in ancient Rome also proposed the word-for-word translation and sense-for-sense translation. Although the debate has been around for a long time, the two terms was not put forward by American translation theorist L. Venuti until 1995 after the publication of The Translator’s Invisibility: A History of Translation. According to Venuti, domestication refers to “an ethnocentric reduction of the foreign text to target-language cultural values, bring the author back home”, while foreignization is an ethnodeviant pressure on those (cultural) values to register the linguistic and cultural difference of the foreign text, sending the reader abroad.” (Venuti 1995, 20) Generally speaking, the former emphasizes on the readers of target language in order to achieve communication that does not need great efforts, and the letter puts stress on the writer as well as the culture of source language to keep the original meaning the same even though it may cause some difficulties in understanding for readers. Different interpretations about this two items will reflect diverse national consciousness behind cultures.&lt;br /&gt;
&lt;br /&gt;
Proverbs, as an essential part of language, is defined as “sayings, usually short, that express a general truth about life, give advice, make an observation, or present a teaching in a succinct and memorable way” in The Fact on File Dictionary of Proverbs (Martin H. Manser 2007, ix). When it comes to proverb translation, we should not only pay attention to it unique structure of sentence, but also notice the profound cultural foundation behind it as well as their functions like education in different proverbs. By choosing the two different approaches between domestication and foreignization to translate proverb, we also express our attitudes towards our culture and other nation’s culture. In fact, domestication has another implied meaning in the context of cultural injustice comparing to the other, that is “to tame an animal”. In the context of translation, it refers to the unequal status between “dominant culture” and “dominated culture”(Shuttleworth &amp;amp; Cowie 1997, 59). Then the question about how to achieve the balance between the two approaches in proverb translation should be taken more seriously in order to reduce cultural asymmetry in China and the West.&lt;br /&gt;
&lt;br /&gt;
Therefore, this paper focuses on all kinds of proverbs in China and the West, classifies them into five categories based on Nida’s classification of culture (Nida 1945, 196) and analyzes the different translations on account of domestication and foreiginization so as to reveal the different national awareness behind them.&lt;br /&gt;
&lt;br /&gt;
==Theory Foundation==&lt;br /&gt;
This part aims to introduce the relative literature review of this study, which provides a historical and theoretical views about the several distinctions among domestication and foreignization. Then we will go through the major arguments about them in Chinese and western countries. Finally, it’s about the translation study of proverbs that reveal the internal differences in languages. &lt;br /&gt;
&lt;br /&gt;
===Assimilation vs. Alienation and Domestication vs. Foreignization===&lt;br /&gt;
There exists great similarities between this two pairs of terms——assimilation and domestication, alienation and foreignization. Through distinguishing the differences among them, we can discover so many cultural inequality between source language and target language.&lt;br /&gt;
&lt;br /&gt;
First of all, it’s the distinction between assimilation and alienation that originated from sociology and philosophy. Assimilation explained in Longman Dictionary of Contemporary English Online refers to the process of becoming an accepted part of a country or group. In the context among different cultures, the assimilation often echoes the process that different individuals or groups merge into the dominant culture in society and gradually lose most of their own cultural characteristics. Therefore, this kind of translation will pay more attention to the target language at the expense of losing source language’s culture characters. On the contrary, the theory of alienation originated in modern Western philosophy after the Renaissance on which related discussions can be found in social contract theory, Feuerbach and Marx's materialism, etc. Although scholars in different periods have given different interpretations, alienation generally means that two different things still maintain their own characteristics in the process of mutual interaction and mutual influence, alienation from each other, or even elimination. Liu Yanli &amp;amp; Yang Zijian (2002, 20-24) had analyzed its implication in translation and they believed that we should try to involve the original language and culture into the target language and culture during translation. As a result, how to find the balance between source language and target language’s culture is the key point between the study of assimilation and alienation.&lt;br /&gt;
&lt;br /&gt;
Secondly, it’s about domestication and Foreignization that arise later than the distinction above. This two terms first put forward by Lawrence Venuti in his work The Translator’s Invisibility in 1995. In the book, he gained most inspiration from German theologian Friedrich Schleiermacher who argued that “there are only two. Either the translator leaves the author in peace, as much as possible, and moves the reader towards him; or he leaves the reader in peace, as much as possible, and moves the author towards him.” (Lefevere 1977, 74) Based on his work, Venuti named these two translation methods as domestication and foreignization. Ordinarily, domestication emphasizes on “the closest nature equivalence to the source-language message” in Nida’s words (Nida 1964, 159) and freignization focuses on the cultural values of source language even at the cost of losing some readers from the target language.&lt;br /&gt;
&lt;br /&gt;
It’s easy to see the similarities between the two pairs of terms, but the reason why Venuti still proposes domestication and foreignization when the previous pair of terms is present is to distinguish the asymmetry of different cultures behind those translation methods. In summary, to find out the language violence and internally cultural inequality is primary mission for translators whether they choose the way of domestication or the other.&lt;br /&gt;
&lt;br /&gt;
===The Main Arguments about Domestication and Foreignization in Chinese and Western Translation History===&lt;br /&gt;
Looking back in history, the debate about domestication and foreignization has never stopped in China or in the West. Then, this paper recalls the major disputes in history to reach a further understanding about the differences between Chinese and Western translation thoughts and cultures.&lt;br /&gt;
&lt;br /&gt;
For one, it can be briefly summarized as three large-scale controversies in Chinese history about these two translation ways(Wang Dongfeng 2002:24), such as the dispute between “text” and “quality” in Buddhist scriptures, arguments between literal translation and free translation from 1920s to 1930s as well as the continuation between domestication and foreignization after 1980s. These two ways alternately play a leading role in the historical stage of Chinese translation, which shows diverse needs for translation in different stages. Sun Zhili (2002) reviewed the previous Chinese literary translation for more than a century and found that the keynote of translation from 1870s to the 1970s was domestication and foreignization had been stressed by the last 20 years of the 20th century in translation circles. He also pointed out that the translation of Chinese literature in the 21th century is still mainly based on foreignization and assisted by domestication if necessary. Now, we generally agree that translation is no a simply conversion among all kinds of languages, but it also involves the various national consciousnesses behind them. As a result, we should try our best to respect the form and author’s writing style of source language. More importantly, we should pay respect to the cultural characteristics of source language and avoid translation errors like “cultural dislocation”.&lt;br /&gt;
&lt;br /&gt;
For another, there are countless discussions in the history of western translation studies as well and we will focus on three masters among them who are Nida, Even-Zohar and Venuti. We have already analyzed the disparate translation ideas between Nida and Venuti, and the formal could be seen as the representative of domestication and the latter foreignization on the contrary. Then, we come to the polysystem theory proposed by Israeli scholar Even-Zohar. (Even-Zohar 1978) He viewed the domestication and foreignization from a sociological perspective that are determined mainly by the status of a particular culture. To be more specific, the translator should choose the translation of foreignization when the literature of target language occupies a dominant position in the national literature, and vice versa. In this theory, we at least can see the two versions of cultures (strong culture and weak culture) and their statuses keep changing over time. In short, we should take the specific situations of different cultures into consideration no matter what methods we choose to translate the texts. &lt;br /&gt;
&lt;br /&gt;
By the several disputes between foreignization and domestication that exist in Chinese and Western history, we can find that both examine the two methods in a very early stage and choose different methods in different historical periods. In terms of future research trends, we tend to more favor the translation idea of foreignization in consideration of cultural equivalence between the source language and the target language, supplementing by domestication if necessary.  &lt;br /&gt;
&lt;br /&gt;
===The Translation Studies about Proverbs===&lt;br /&gt;
Proverbs, as a modern scholar in paremiology Neal Norrick says, are characteristically used to form a complete utterance, make a complete conversational contrivution and/or to perform a speech act in a speech event, which differentiate them from non-sentential items like proverbial phrases, idioms, etc. (Neal Norrick 2015:7) Those words have often been created and used from generation to generation that were full with wisdom and truth we found in our daily life. We can find traces of them in different periods of history, such as Lord John Russell’s words “One man’s wit, and all men’s wisdom”, William Shakespeare’s “Brevity is the soul of wit”, Alexander Pope’s “Hope springs eternal in the human breast”, etc. Even well-known individuals like Winston S. Churchill, John F. Kennedy and others have formulated concise and memorable statements that have become proverbial(Mieder 2009). Therefore, it has great value to do research on proverbs, which can guide us find out so many mysteries in languages. &lt;br /&gt;
&lt;br /&gt;
So far, studies about proverbs collected in Introduction to paremiology: A Comprehensive Guide to Proverb Study (Hrisztova &amp;amp; Varga 2014) could be summarized in those aspects as follows: Outi Lauhakangas (categorization of proverbs), Peter Grzybek (semiotic and semantic aspects of the proverb), Roumyana Petrova (contrastive study of proverbs), etc. And this paper will be focus on the comparative and contrastive studies between China and Western proverbs.&lt;br /&gt;
&lt;br /&gt;
On the one hand, there are a lot of commonalities between China and Western proverbs. Essentially, they all stem from the same metaphorical thinking of human beings (Kou Fuming 2007:53). Even though China and the West have diverse living conditions, cultural backgrounds and so on, we all have the same physical experience or cognitive mechanism in some degree that are summarized into languages as several equivalent proverbs of different nations. For instance, a English proverb like “out of sight, out of mind” in western countries has the similar function and form with Chinese proverb of “眼不见，心不烦”. Both are close related with our bodies, then they convey almost the same feelings that we have about nettlesome things. Besides, we also have the similar feelings about a lot of images no matter what country we are in. Take the rat as an example, there is a proverb called “a rat crossing the street is chased by all” in British folklore, and we can also find a close correspondence between it and an ancient Chinese proverb named “老鼠过街人人喊打”. Rats are often regarded as hoodoos in China, Britain and other countries due to their act of stealing, so we will chase and try to kill them when we see them in the street. Hence, all those knowledge that we obtain from the interaction with the world are passed on to the next generation as a form of proverbs. In a word, there exists many analogous proverbs in China and the West as a result of the same body experience and feelings about some things, while we can not ignore the fact that the number of such proverbs are quite limited due to the influence of other factors as follows.&lt;br /&gt;
&lt;br /&gt;
On the other hand, there are more differences existed in Chinese and Western proverbs. We do not create a proverb simply by stacking a set of words, while they are fundamentally inherited in our cultures and every single image in a proverb is actually a symbol reflected the same values in a community. According to Nida, we can distinguish the differently cultural backgrounds between China and the West into five aspects, and there are (1) ecology, (2) material culture, (3) social culture, (4) religious culture, and (5) linguistic culture. This paper will focus on the five angles to make comparative and contrastive studies among China and western countries under the guidance of domestication and foreignization methods of translation.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study from Five Cultural Aspects Based on Nida's Theory==&lt;br /&gt;
In this chapter, comparative analysis is used to find the similarities and differences between Chinese and western proverbs in terms of five aspects. Then, it’s about the selection of dictionaries as the corpus for each proverb. So far, thousands of dictionaries of proverbs have been published in all kinds of languages. For example, James Obelkevich in Proverb and Social History (1987) had mentioned that more than 7,000 proverbs had already been collected in Sebastian Frank’s dictionary as early as 1541. Thereinto, all the proverbs analyzed in this paper are selected from the second edition of The Facts on File Dictionary of Proverbs edited by Martin H. Manser in 2007 as the corpus of western proverbs and the Dictionary of Chinese Proverbs edited by Wen Duanzheng in 2011 as the corpus of Chinese proverbs. The origins of examples below are marked by letter M for the first book and letter W for the second book. &lt;br /&gt;
&lt;br /&gt;
===Proverb Translation about Ecology===&lt;br /&gt;
Ecology is often understood as the scientific analysis and study of interactions among organisms and their environment, while it refers to the different regional cultures here. That is to say, the diverse cultures between China and the West are the results of various geographical environments and there is often considerable difficulty in finding some similarities in terms of such ecological features. The main difference between them in this regard could be summarized into one point: China is a landlocked country with obvious “continental attributes” in its culture, while people in most western countries live by ocean that results florid ocean culture of their nations (Qiu Nengsheng &amp;amp; Qiu xiaoqin 2019:52). When it reflects in the proverbs, we can see that different images are selected by their nations to express the same ideas or views. Detailed analysis are showed as follows:&lt;br /&gt;
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Firstly, it is reflected in the selection about the name of places in proverbs and we would use some places to refer to special things in our cultures.&lt;br /&gt;
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All roads lead to Rome (M-6);&lt;br /&gt;
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Good Americans, when they die, go to Paris (M-105); &lt;br /&gt;
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有眼不识泰山 (Entertain an angel unawares) (W-1271)；&lt;br /&gt;
&lt;br /&gt;
不到长城非好汉 (One who fails to reach the Great Wall is not a hero) ((W-35).&lt;br /&gt;
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The first proverb is actually a Latin proverb (Mille vie ducunt hominem per secula Romam), referring to that many different ways can lead us achieve the same result. Rome behind it is used to refer the shrine for all people. In the second proverb, Paris is regarded as a kind of paradise by certain Americans and they want to get there even after death. In the following two Chinese proverbs, Mount Tai and the Great Wall are both used as stereotypes of majestic places in the mind of Han people. Regardless of Rome, Paris or Mount Tai, there is nothing in common between the ecology of different nations. If we just translate them simply by replacing with different names of places, such as “All roads lead to the ‘Great Wall’”, it was without a shadow of a doubt that people in China or the western countries would look puzzled facing with the translation. Therefore, foreignization method of translation is more suitable to translate proverbs related to ecology.&lt;br /&gt;
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Secondly, our understanding about some images may be completely opposite due to climatic variables and domestication of translation is a better choice in such condition. The best example lies in images of east wind and west wind in Chinese and western proverbs.&lt;br /&gt;
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when the wind is in the east, it is neither for man nor beast (M-297);&lt;br /&gt;
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春东风，雨祖宗 (East wind brings rain in spring, which is as precious as our ancestors) (W-101).&lt;br /&gt;
&lt;br /&gt;
In this pair of proverb, the opposite perceptions are showed in the different understandings between China and western countries like British. As for people lived in British, the west wind from the Atlantic Ocean is often warm and humid. But when it comes to the east wind, expressions such as words in A Collection of English Proverbs # are described as “the east-wind with us is commonly very sharp because it comes off the continent”. So, wind from the west is neither for man nor for beast. On the contrary, east wind from ocean often brings warm breeze and rain in need for Chinese in most places. Therefore, the east-wind is a thing to be grateful for peasants in ancient China and a thing to be disagreeable for people in most western countries at the same time. When we encounter with proverbs that carry with such images, translation of domestication will minimize misunderstandings by replaced them with others in their own nations.&lt;br /&gt;
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Last but not least, proverbs inhering in Chinese farming culture and western marine civilization also differ widely in their preferences of the diverse images. Proverbs about agriculture hold a special places in the history of Chinese paremiology. John S. Rohsenow (2003:xiv) also mentioned that some of the earliest recorded types of proverbs are the so-called “agricultural proverbs” and “weather proverbs”. for instance, Cui Shi # first collected this type of proverbs in his book Farmers’ Monthly Guide in the Eastern Han dynasty about eighteen hundred years ago. As a result, proverbs like “春耕宜迟，秋耕宜早 (it is more suitable to start spring ploughing later until the ground is fully thawed and autumn ploughing earlier before the ground is completely frozen. W-101) ” 、“春不种，秋不收 (Without spring sowing, there will be no autumn harvest. W-102)”. similarly as a result of geology, proverbs in most western countries are closely associated with ocean, such as “Little drops of water, little grains of sand, make a mighty ocean and a pleasant land (nothing is too small to be of value. M-172)”、“Many drops of water make an ocean (M-172)”.&lt;br /&gt;
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All in all, proverbs in China or the West have great variants related to different geographical environments and we should use more proper methods between domestication and foreignization to translate them in order to minimize misunderstanding caused by this factor. &lt;br /&gt;
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===Proverb Translation about Material Culture===&lt;br /&gt;
Material culture is the physical evidence of a culture in the objects and architecture they make, or have made. In this paper, it also includes all types of animals or other images of nations. As we have know before, different ethnic groups have different living habits and most things they interact with in their daily life will also vary from one into another. This may lead to two consequences in total: the first one is that the most common things in one nation may be not necessary in another; the second one is that the same things or images may result quite opposite understandings in China and the West.&lt;br /&gt;
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Examples about the first type can be found everywhere in corpus of Chinese and western proverbs. Taking the bread as an example, there are two proverbs about it as follows. &lt;br /&gt;
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Bread always falls buttered side down (M-32);&lt;br /&gt;
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Bread is the soul of wit (M-33).&lt;br /&gt;
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The first proverb was recorded as early as mid-19th century and appeared in a rhyme written by James Payn. it means that the least desirable of two or more possible outcomes is the one that will occur in any situation. The second one is recorded in Artachthos, which means that food is essential for survival. We can see from these two proverbs that bread places an essential place in the food of western people, while the similar thing could be replaced as rice for most Chinese people. Since proverbs are the national heritage of people, images in a proverb from one nation like food and others should also be translated into similar images we can find in other nation. In other words, the domestication of translation method is more suitable to translate the fundamental images of different nations.&lt;br /&gt;
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Examples about the second type constitute the most interesting parts of comparative analysis about proverbs in China and the West, such as the disparate interpretations of dog in proverbs.&lt;br /&gt;
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Between be the head of a dog than the tail of a lion (M-24);&lt;br /&gt;
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Dog does not eat dog (M-58);&lt;br /&gt;
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A dog is man’s best friend (M-58);&lt;br /&gt;
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狗改不了吃屎 (The leopard cannot change his spots) (W-253)；&lt;br /&gt;
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狗急跳墙 (Even a worm will turn) (W-253)；&lt;br /&gt;
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狗嘴里吐不出象牙 (What do you expect from a pig but a grunt) (W-254).&lt;br /&gt;
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Proverbs mentioned above are all related to dog in China and the West, while people of different nations have quite opposite feelings about them. In ancient China, dog was analyzed in Paraphrasing Texts and Words (Shuo Wen Jie Zi) from the Chinese character “Du (独)”, which referred to that “when dogs are to be alone, they fight against each other”. Dog as an image violated the traditional Chinese value of unity, hence it often carried derogatory meanings in Chinese proverbs. The last three proverbs have demonstrated Chinese feelings of rejection for dogs. Maybe it has some conflicts with modern people’s views about dog, but at least it represents the common feelings of most ancient Chinese people. In contrast, the first three proverbs have showed great intimacy between human and dog in the West. Evidences can be found in the ancient time of most western countries when people lived a nomadic life and dogs were useful for hunting, so special feelings have developed in the long-term interaction between them and dogs. When faced with such images like dog, we’d better domesticate them into images in other nations in order to match up different emotions of nations.&lt;br /&gt;
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In summary, proverbs originated from different material cultures should take a domestication way of translation whether it is the same image of diverse feelings or the different image of same functions. &lt;br /&gt;
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===Proverb Translation about Social Culture===&lt;br /&gt;
Social culture is a general term that encompasses national history, folk customs and people approving psychology, etc. Proverbs about social culture could be found everywhere in the heritage of nations and those discrepancies cannot be overlooked in the comparative study between Chinese and western proverbs. Examples are as follows:&lt;br /&gt;
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Good wine needs no bush ( M-109); &lt;br /&gt;
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酒好不怕巷子深 (W-401);&lt;br /&gt;
&lt;br /&gt;
Grass grows not upon the highway (M-300);&lt;br /&gt;
&lt;br /&gt;
热闹的街道不长草 (W-691).&lt;br /&gt;
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There are two pairs of Chinese and western proverbs that have some connection with one and another. However, we couldn’t understand any of them without the background knowledge of social cultures in either nation. The first proverb means that a good product like wine does not need advertising, which is still trusted by some producers nowadays. The similar one could be found in China and explained as “if the wine is good, people will come as a matter of course.” But images in these proverbs are quite different as a result of different national cultures. The word bush refers to a bunch of ivy that was formerly hung outside a wine merchant’s premises in the ancient period of England, so bush here represents a more sincere commitment inherited in their conscience. But in ancient time, streets in the south of China are always winding due to the effects of terrain. Therefore, the second Chinese proverb here emphasizes on the bouquet of wine that can be smelled even in the distance. Even though there are some similarities in meaning between the two proverbs but we can’t translate them only by replaced one with another. Instead of it, both domestication and foreignization of methods should apply for proverb translation originated from different social cultures. We can use the first one to understand the meaning of proverbs and associate it with the second one to find out the internal values of different cultures. Same example could also be seen in the second pair of proverbs. The English vision one is explained in The Oxford Dictionary of English Proverbs (Wilson 1970:381) as “an invective against the Barrenness of whores”, which has a pejorative connotation, while the Chinese one is only a fact that we obtain in our life through observation. So it’s misunderstanding to translate them based on literal meaning of the proverb and find a substitute in Chinese proverbs. &lt;br /&gt;
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===Proverb Translation about Religious Culture===&lt;br /&gt;
Religious culture plays a very important place in Chinese or western proverbs that includes a system of behaviors, practices, world views, sacred texts, holy places, etc. In the context of proverb translation, we can find so many elements related to diverse religions of different countries. As Liang (1993: 170-177) points out that there are more than 300 Chinese idioms related to Buddhism, so proverbs in China are also influenced greatly by religions like Buddhism and Taoism by analogy. At the same time, we can find so many traces of religions like Christianity and Catholicism in Western proverbs. Then, some examples below will be analyzed.&lt;br /&gt;
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Man proposes, God disposes (M-182);&lt;br /&gt;
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谋事在人, 成事在天 (W-518);  &lt;br /&gt;
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Love is blind (M-177);&lt;br /&gt;
&lt;br /&gt;
情人眼里出西施 (W-659).&lt;br /&gt;
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In the first pair of proverbs, there is a similar meaning between them in Chinese and English. The first vision is a French proverb recorded in the early of 14th century and means that human plans and ambitions will come to nothing unless God chooses to permit their realization. In some degree, the second vision written in Chinese has some thing in common with the first one but differs in the images of God. In French and other western countries, God is the highest one in Christian. In China, the Chinese character Tian had the same status with God but it came from Buddhism on the contrary. When we are trying to translate them, domestication method is only suitable to achieve a similar meaning in different nations and fails to convey the tiny cultural diversity among Chinese and western countries. Besides, the second pair of proverbs are also good examples to show the nuances of domestication and foreignization methods. The proverb “love is blind” originated from western mythology and the goddess of love in ancient Greek was also called the blind God. Then, the Chinese proverb is used to describe the blindness of love as well but it has nothing to do with religion, referring to that “beauty lies in the lovers’ eyes”. In summary, cultural untranslatability can’t be ignored in proverbs that entail images like Xi Shi (a prototype beauty in China) and the blind God. &lt;br /&gt;
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===Proverb Translation about Linguistic Culture===&lt;br /&gt;
Language is a part of culture and they interact with each other in different nations. Linguistic culture can be understood as literary allusions, historical stories, legends, etc., which lead to diversification in the contents and forms of proverbs. When we try to translate proverbs about linguistic culture, domestication method is useless in most time due to profound cultural background behind them.&lt;br /&gt;
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There are innumerable proverbs inhering in linguistic culture and we can’t understand any of them without the cultural or historical background of nations. For instance, the proverb “beware with Greeks bearing gifts” (M-26) is an ancient one in the first century B.C., which comes from the Trojan War. In the ancient time, it is a warning given to the Trojans when a large wooden horse (filled with Greek soldiers) was delivered to the gates of their city. Now, it is used to warn people to be suspicious of offers given by opponents. Therefore, people from other nations would not understand this proverb until they know the war behind it. The same examples can also be found in Chinese proverbs. For instance, the proverb “成也萧何，败也萧何” means that one person did all the good and bad by himself. Xiao He in this proverb was one of Liu Bang’s counselors that recommended the famous general Xiang Yu to the future Emperor Gaozu of Han Dynasty and killed him as well in the end. Images in a proverb such as war or famous people in history can’t be simply domesticated into another nation, rather we should explain the linguistic cultures inherited in different nations. &lt;br /&gt;
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In a word, we should try to translate the meaning as well as the historical background behind proverbs and two ways of translation can associated with each other in this process.&lt;br /&gt;
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==Conclusion==&lt;br /&gt;
In sum, this paper makes a comparative study between Chinese and western proverbs translation in terms of domestication and foreignization with the purpose of finding out the internal culture difference among them. Throughout analyzing proverbs about five types of cultures given by Nida, we can clearly see that foreignization is more suitable to convey the different culture factors behind proverbs without losing its original meanings, and domestication is more useful to minimize misunderstandings about proverbs that have little to do with cultures and even have opposite meanings for people in China and the West, such as east wind and west wind. Therefore, we suggest a translation method based on foreignization to translate proverbs of nations and associated with domestication if necessary. &lt;br /&gt;
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===Limitations and Suggestions for Future Study===&lt;br /&gt;
There are many limitations in this paper and we will focus on two aspects. A general limitation is that we haven’t explored in detail about the history of domestication and foreignization in China and the West due to the length of the paper, which will be of great importance to understand the different roles they played in history. Additionally, this paper doesn’t take the development of proverbs into consideration. As time goes on, some ancient proverbs about agriculture, climate, etc., are not in the same status as in the ancient times because of the advance in science and technology. Meanwhile, many new proverbs are also constantly coined nowadays and we need further distinguish them with those appeared earlier.&lt;br /&gt;
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As for the suggestions for future study, we believe that there are of great values to study proverbs in China, western countries and so on. One aspect particularly interesting is the development of proverbs. Just as what John S. Rohsenow (2003: 62) said, proverbs are slowly disappearing in the Western countries because of the rise of individualism, which is also the core idea in Obelkevich’s explanation. On the contrary, they have continued to be used in China precisely because they entail the values of traditional community that is still importance in Chinese society. Relative studies can explore further the reason or tendency behind this comparative analysis.&lt;br /&gt;
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Written by --[[User:Ma Xin|Ma Xin]] ([[User talk:Ma Xin|talk]]) 11:59, 10 December 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Ma Xin</name></author>
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