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

<center>Liu Ting</center>

===Abstract===

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

===Key words===

Chinese modern poetry, canonization, classic work

===1. Introduction===

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

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

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

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

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

===2. Chinese Modern Poetry===

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

2.1 Development of Chinese Modern poetry

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

2.1.1 The first decade

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

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

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

2.1.2 The Second Decade

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

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

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

2.1.3 The Third Decade

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

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

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

2.2 Value of Chinese Modern poetry

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

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

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

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

===3. What is Classic===

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

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

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

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

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

===4. Problems about Canonization===

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

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

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

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

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

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

===5. Conclusion===

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

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

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

===References===

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===Terms and Expressions===

Chinese modern poetry 中国现代诗歌

Canonization 经典化；承认为圣典

Synchronic 共时性的

Diachronic 历时性的

Go global 走出去

Vernacular poem 白话诗

Lyrical poems 抒情诗

Highbrow literature 高雅的文学作品；阳春白雪

Chinese textbook 语文课本

Knowledge reserve 知识储备

Rhythm 格律；韵律

Artistic aesthetics 艺术审美

===Questions===

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

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

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

===Answers===

1. Hu Shi.

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

3. Ancient poetry

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

<center>Liu Yao 刘瑶</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

'''Definition of Domestication'''

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Chen Xi, Li Xiaoxiang陈西, 李霄翔. (2016). 翻译伦理学视角下文学自译作品中的人名翻译——以《台北人》为例[Translation of Names in Literary Self-translation from the Perspective of Translation Ethics - A Case Study of Taipei People]. ''翻译论坛'' [Translation Forum] 26-30.

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==英语笔译刘珍 Liu Zhen 202170081588 MW==

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

<center>刘珍</center>

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

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

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

==英语笔译马艳焕 Ma Yanhuan 202170081591 CE==
A Study on the Translation of Culture-loaded Words in Su Tong's Short Stories-- Taking Madwoman on the Bridge as an Example

<center>'''A Study on the Translation of Culture-loaded Words in Su Tong's Short Stories-- Taking Madwoman on the Bridge as an Example

'''</center>

<center> Ma Yanhuan 马艳焕 </center>

===Abstract===
As the film "Raising the Red Lantern" adapted by director Zhang Yimou based on Su Tong's novella "A Group of wives and concubines" has won major awards at home and abroad, Su Tong's works have gradually received more attention. Madwoman on the Bridge is a short story written by Su Tong, a famous contemporary Chinese writer, which was translated into English by Canadian sinologist Josh Stenberg. Chinese literary works contain many words with Chinese characteristics and bear part of the history and culture
Culture-loaded words carry many cultural phenomena or specific cultural connotations, so the translation of culture-loaded words is particularly important in spreading Chinese classics. Based on Su Tong's short story ''Madwoman on the Bridge'', this paper makes a case study of the culture-loaded words in his English translation, probes into its translation strategies, and puts forward some countermeasures to provide a reference for the going out of Chinese literature.

===Key words===
Su Tong； Madwoman on the Bridge； Translation； Culture-loaded Words

===Introduction===
1. Su Tong.

Su Tong (1963 -) is a contemporary Chinese writer formerly known as Tong Zhonggui, a native of Suzhou, Jiangsu Province (originally from Yangzhong County, Jiangsu Province). He graduated from the Chinese Department of Beijing Normal University and now lives in Nanjing. Su Tong is one of China's most celebrated bestselling authors, shooting to international fame in 1993 when Zhang Yimou's film of his novella Raise the Red Lantern was nominated for an Oscar.
His main works include "groups of wives and concubines", "Flying over my hometown of Maple Poplar", "House of poppies", "Rice", "Escape in 1934", and "my Imperial career" and so on. Su Tong is not only one of the representatives of contemporary Chinese avant-garde neo-realism, but also one of the most influential and respected writers, and his writing style is also controversial. His works are characterized by the pursuit of an objective and calm style to narrate the story, as far as possible without subjective emotion. The novella "groups of wives and concubines" were selected as one of the top 100 Chinese novels of the 20th century.
His works have been translated into French, English, Japanese, and Russian, and have been widely spread overseas.

2.''Madwoman on the Bridge''

Set during the fall-out of the Cultural Revolution, these bizarre and delicate stories capture magnificently the collision of the old China of vanished dynasties, with communism and today's tiger economy.
The novel tells how a crazy mother standing on a bridge in a white velvet cheongsam was ignored by the people around her and bullied by two other women, Grandma Shaoxing and Cui Wenqin until the crazy mother finally had a complete mental breakdown. was forcibly sent to a psychiatric hospital.
"''Madwoman on the Bridge''" successfully portrays the character image of a madwoman, which is robbed and damaged by Shaoxing woman, a weak person in a difficult life. Cui Wenqin, who loves beauty but does not "beauty", destroys the cheongsam loved by her crazy mother. let us see a tragedy of bullying and killing the weaker side, although they are both women[1].

3. Translator.

As far as the translation of Su Tong's short stories is concerned, the Australian scholar Josh Stenberg (also known as Shi Jieshan Josh Sternberg) is the main general. so far, he has translated many of Su Tong's short stories. Such as "picking up babies", "Shanglong Temple", "multimeter", "Vanilla Camp", "Crazy Mom on the Bridge", "Weeping Willows", "Saturday", "thieves" ceremony", "Private Banquet", "Goddess Peak", "August Diary", "sad Dance", "Water Ghost", "Big pressure", "hearts Q", "going home in May", "Giant Baby", "A week's morning" and so on. Josh Stenberg is a representative translator of Su Tong's short stories, and his translation is very productive[2].

4.

===Literature Review===
Since the 21st century, China has successively implemented the "Chinese Book Promotion Program", "the Translation and introduction Project of one hundred excellent works of Chinese Contemporary Literature", "the overseas dissemination Project of Chinese Literature" and so on. to a certain extent, this has promoted many scholars' research on the foreign translation of contemporary Chinese literary works. Su Tong is famous at home and abroad for his works such as "groups of wives and concubines", "My Imperial career", "Bi Nu" and "Poppy House", which has aroused some scholars and readers to study his works and their foreign translation.
Ye Jie and Wang Xiaowei (2016) sorted out the bibliography of Su Tong's works translated into English, Japanese, French and German, and studied the acceptance of his works overseas and its influence on the spread of Chinese culture. Chinese literature should pay attention to the effect of translation, establish a feedback mechanism, listen to readers' opinions, and correctly choose the subject, content, approach and audience of translation[3].
There are eight articles on the English translation of ''Rice'' in CNKI. For example, Hu Gangliang explored the traces of manipulation in GE Haowen's English translation of ''Rice''. The author makes a systematic analysis from three aspects: ideology, translation poetics and patronage, and draws a conclusion: (1) the three controlling factors manipulate the English translation of Mi from two levels: the western society and the translator. (2) the translator GE Haowen is not only the manipulator, but also the manipulated, and will compromise to the macro manipulation factors. (3) the translator should give full play to his creativity, take care of the target language readers, and skillfully deal with the relationship between betrayal and faithfulness[4].
Zhao Jie studies the translation strategies of culture-loaded words in the English translation of ''Rice''[5]. Shi Yujie studies the English translation of Binu from the perspective of Bourdieu sociology[6], and Zhao Wenting studies the four-character idioms in the English translation of Riverbank and so on[7].
For the study of Su Tong's short story "Crazy Mom on the Bridge", there are only two articles on China knowledge Network. One is the translation strategies and effects of people's names, things, and action images in the novels by Ye Su and Wu Zhenzhen. The other is Wang Xiaodong's analysis of the image of the "madwoman" in the novel. Up to now, the study of culture-loaded words in the English translation of novels has not been involved, so this thesis is of great significance for the translation and dissemination of Chinese short stories[1][8].

===Case Studies===
In his book the Scientific Exploration of Translation in 1964, Eugene Nida divided the cultural system into five categories: material culture, ecological culture, social culture, religious culture, and language culture[9]. Based on this classification, this paper will analyze the translation of culture-loaded words in Mad Mom on the Bridge from these five aspects.

'''1. Materially cultural-loaded words.'''
Material and cultural-loaded words refer to the original or unique referential words of various objects related to people's daily life, including tools, utensils, equipment, products, etc.
In the novel ''Madwoman on the Bridge'', when describing the characteristics of the Madwoman, it introduces many objects with the characteristics of Chinese times.

'''Example 1'''
疯妈妈穿着'''白丝绒旗袍'''，手执一把'''檀香扇'''，仪态万方地站在桥头。
The madwoman was wearing a '''[[white velvet cheongsam]]''', and in her hand, she held a '''[[sandalwood fan]]'''.
Standing on the bridge, she reveled in her own elegance.

"旗袍“ is the traditional clothing of Chinese women in China and the world, and it is also one of the most gorgeous phenomena and forms in China's long clothing culture. It is known as "Chinese quintessence" and "women's national clothing". However, when cheongsam spread abroad around the 1930s, there were two common translation names, one is"qipao", the transliteration of Mandarin, and the other cheongsam, the transliteration of Cantonese "长袍". The translator adopts the latter.
“檀香扇”, featured handicrafts, are a major specialty of Suzhou. All kinds of folding fans and other shaped fans made of sandalwood are the four famous fans in China. The translated name uses literal translation to accurately express its meaning.

'''Example 2'''
疯妈妈和绍兴奶奶都望着那男人，望着的是一个背影，穿着蓝卡其布的'''中山装'''，肩膀有点塌。
The madwoman and Shaoxing woman both looked at the man, or rather at his back. He was clad in khaki ''' [[trousers and a tunic]]''', with sagging shoulders.

“中山装” (Chinese tunic suit) is a kind of four-bag clothing with a lapel and cover, named after Sun Yat-sen, which originated in China in the 1920s.
The translated name is relatively fixed and definite, so the author thinks that it is better to use the fixed expression.

'''Example 3'''
我差点忘了，这'''琵琶扣'''我得拆一个下来，太难做了......
"I almost forgot-I'm going to have to take off one of these '''[[lute frogs]]'''. They are really hard to make.

“琵琶扣”is a traditional Chinese hand-woven handicraft, which belongs to the Chinese knot. The knot of the pipa is based on the button knot and then changed, and its shape is similar to that of the ancient musical instrument pipa. On the other hand, the literal translation makes the target and the readers confused and confused, so the author thinks that it is better to make a free translation and change it to lute-shaped frogs.

'''2. Ecologically culture-loaded words.'''
The definition of "ecology" in the Modern Chinese Dictionary refers to the living state of all living creatures and the interrelated relationship between them and their environment. Ecological words include all kinds of animals, plants, and words related to the natural environment[10].

'''Example 4'''
她拧起眉头对着桥这头的'''香椿树'''街急速说了些什么，大概是在埋怨什么。
Her brow furrowed as she glanced over at [['''Mahogany''']]Street, on the near side of the bridge, then numbled something which sounded like a complaint.

“香椿树” (Toona Sinensis) is originated in China. Chinese people have long been accustomed to eating Toona Sinensis. It has spread from the Han Dynasty all over the country. Toona Sinensis wood is yellowish-brown with a red band, beautiful texture, hard, not easy to deform, easy to construct, excellent wood for furniture, interior decoration, and shipbuilding, known as "Chinese mahogany". Mahogany, native to Central America and Africa, was widely planted in Indonesia and became an imperial item for European royal furniture. In western countries, the translator may not be familiar with the Chinese toon tree, so the translator translates it into mahogany, which is a domestication strategy to make the translation closer to the reader and increase the readability of the translation.

'''3. Socially cultural-loaded words.'''
Socially cultural-loaded words refer to a variety of social activities related to human beings, that is, how people communicate and how to act in different groups.

'''Example 5'''
绍兴奶奶是'''小脚'''，却承担着香椿树街牛奶站的全部工作。
The old Shaoxing woman had '''[[bound feet]]''' but still undertook to deliver milk to the whole of Mahogany Street.

"小脚" is a custom in ancient China, which refers to the foot binding of ancient women and is a bad habit. Although there were many criticisms, it was not gradually abolished until the beginning of the 20th century. The translator abandons the meaning of "small" and uses bound to express its deep meaning. Free translation is a better choice.

'''Example 6'''
把那些丝线都送给我吧，我给我家素素编个'''蛋套'''，明年中秋挂咸蛋。
Won't you give them to me so I can weave Susu an ''' [[egg cozy]]'''? At the mid-autumn festival next year we can hang salted eggs in it.
On this day, the Beginning of Summer compiled an "egg cozy" in which hard-boiled eggs were put into them and hung on their chest, thinking that heat stroke could be avoided in this way. Coincidentally, British and American countries also make egg covers at Easter. Although they have different cultural meanings, they are roughly the same as Chinese egg covers, so the translator directly adopts the English name "egg cozy"[8].

'''4. Religiously cultural-loaded words.'''
The differences in religious beliefs between English and Chinese will inevitably lead to differences in language behavior and language concepts.

'''Example 7'''
天机泄露于眼神......Wenqin's eyes betrayed her secret though...
"天机不可泄露" is a Taoist term, which holds that everything is arranged by heaven and cannot be disclosed in advance, otherwise it will easily lead to endless troubles. It also refers to matters that are confidential and cannot be disclosed in advance. "天机" is paraphrased here as a secret, which is a correct understanding.

'''Example 8'''
莲步轻移walk daintily around
"莲步轻移" means to describe a woman walking like a lotus flower shaking, a metaphor for a woman's graceful posture, slender figure, beautiful and moving walking posture. The golden lotus（金莲） is called a woman's little foot, which is a kind of laudatory name that expresses precious. It is a folk convention that the inner person of three inches is the golden lotus. "Golden Lotus" is derived from the lotus in Buddhist culture. Taking "Lotus" as the name of women's little feet is a laudatory name in Buddhist art. Most Bodhisattvas stand barefoot on the lotus, which may also be an important reason for the connection between the lotus and women's little feet. Due to the different religious cultures, the purpose and the reader may not be able to understand this meaning, so the better way of translation is a free translation, abandoning the complex religious meaning behind it, and only expressing the meaning clearly.

'''5. Language culture-loaded words.'''
Language culture-loaded words refer to specific words or expressions formed by phonetic and grammatical structures in the language. For example, Chinese sayings, idioms, Xiehouyu, puns, reduplicated words, words related to political and historical allusions and some fixed expressions in various dialects.

'''Example 9'''
疯妈妈 madwoman
敲竹杠 con me
家底 every stick your family owns
病急乱投医 grasp at straws

"疯妈妈"and "绍兴奶奶", are references to middle-aged women in Chinese, so they cannot be literally translated into mom or grandma, which will make the target language readers misunderstand the kinship among them. "敲竹杠" means to take advantage of other people's weaknesses or to use some excuse to raise prices or ask for the property. It is a common saying handed down in Chinese history, and there is no equivalent in English, so free translation can only be used. "家底" is all family property, and there is no corresponding word in English. "病急乱投医" comes from "A Dream of Red Mansions", which means to ask for help or think of ways everywhere when things are urgent. It just so happens that the meaning of grasp at straws in English is similar, which refers to trying everything you can to succeed, even though the things you are doing are not likely to help or work.

'''Example 10'''
一只手翘起'''兰花指'''做成个熨斗
She arranged her fingers in the orchid position to act like an iron

“兰花指”, now usually refers to the kneading of the thumb and middle finger, the other three fingers spread the gesture. In ancient China, the warped orchid finger was the patent of men and a symbol of their masculinity. In those days, if a man had an amazing orchid finger, he would be worth a hundred times as much, whether it was employment, career, or talking about marriage. Later, due to the surging winds and clouds of the feminist movement, this atmosphere gradually moved to women, and the warping orchid finger became one of their privileges. If it is only literally translated into the orchid fingers, it will not be conducive to the understanding and acceptance of the target language readers.

===Conclusion===
Taking the culture-loaded words in Crazy Mom on the Bridge as an example, this paper analyzes the translation strategies and methods chosen by Josh Stenberg and makes personal comments and explanations on some of the words.
Due to the inevitable differences between Chinese and Western cultures, it is impossible to achieve complete equivalence in the translation of culturally loaded words, so in texts involving cultural differences, it is best to adopt domestication strategies as far as possible to enhance the readability of the target readers. sometimes for the purpose of spreading exotic customs and elements, we can adapt the strategy of foreignization.
Due to cultural differences, culture-loaded words in one language may be able to find equivalents in another language. if there is no equivalent, we can translate literally without cultural misunderstandings, otherwise, we can use transliteration and free translation to make up for cultural losses as far as possible, so as to obtain the best translation effect.

===References===

*[1]Wang Xiaodong王晓东(2019).苏童《桥上的疯妈妈》中“疯妈妈”形象分析[J]Image Analysis on "Madwoman" of Madwoman on the Bridge by Su Tong .文学教育(上)Literature Education (I)
*[2]Li Yinghua李英华(2021).苏童短篇小说的创作渊源和英译传播The Creative Origin and English Translation of Su Tong's short stories[J].世界华文文学论坛World Forum on ***[3]Chinese Literature.,66-71.DOI:10.16228/j.issn1008-0163.2021.01.011.
*[4]Eugene.Nida.Linguistics and ethnology in translation problems[J].Word,1945:194-208.
*[5]Newmark.Peter.A Text Book of Translation[M].Shanghai: Shanghai Foreign Language Education Press,2000.
*[6]Chen Hongwei陈宏薇(1998).汉英翻译基础The basis of Chinese-English translation [M]. 上海:上海外语教育出版社Shanghai: Shanghai Foreign language Education Press.
*[7]Ye Jie,Wang Xiaowei叶洁,王小伟(2016).苏州作家在海外的译介与传播The Translation and dissemination of Suzhou Writers abroad[J]北方文学Northern Literature.
*[8]Hu Gangliang胡钢亮(2020). 操控理论视角下葛浩文《米》的英译研究A study on the English Translation of GE Haowen's Rice from the Perspective of manipulation Theory [D].浙江师范大学Zhejiang normal University.DOI:10.27464/d.cnki.gzsfu.2020.000083.
*[9]Zhao Yu 赵毓(2020). 苏童小说《米》中文化负载词的英译策略分析An Analysis of the Translation Strategies of Culture-loaded words in Su Tong's novel Rice [D].上海交通大学Shanghai Jiaotong University.DOI:10.27307/d.cnki.gsjtu.2020.002306
*[10]Shi Yujie施羽洁(2020). 布迪厄社会学视角下的苏童《碧奴》英译研究A study on the English Translation of Su Tong's Bi Nu from the Perspective of Bourdieu Sociology [D].上海外国语大学 Shanghai Foreign Studies University.DOI:10.27316/d.cnki.gswyu.2020.000455.
*[11]Zhao Wenting赵文婷(2017). 基于构式压制下苏童小说《河岸》联合式成语英译研究A study on the English Translation of the Joint idiom in Su Tong's novel Riverbank based on Construction suppression [D].辽宁师范大学 Liaoning Normal University.
*[12]Ye Su, Wu Zhenzhen叶塑,吴真贞(2019).苏童短篇小说中意象性语言的翻译研究——以《桥上的疯妈妈》为例 A study on the Translation of imaginative language in Su Tong's short stories-- taking Crazy Mom on the Bridge as an example[J].语言与文化研究 Language and Culture Studies.128-134.
* [13] Nida,Eugene. A. 2004. Toward a Science of Translating [M]. Shanghai Foreign Language Education Press.
* [14] Modern Chinese dictionary现代汉语词典 [M]. 商务印书馆Commercial Press, 1996.

==英语笔译聂薇 Nie Wei 202170081592 MW==

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

<center>Nie Wei 聂薇</center>

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(ii) Domestication

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

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

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

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

(iii) Omission

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

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

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

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

(ⅳ) Mistranslation

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

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

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

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

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

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

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

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

(ii) Semantic correspondence

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

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

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

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

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

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

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

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

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

==英语笔译孙丽君 Sun Lijun 202170081593 CE==

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

<center>Sun Lijun</center>

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

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

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

===Literature Review===

===Methods and Theories===

===Subtitle 1===

===Subtitle 2===

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

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

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

<center>Tong Yumeng</center>

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

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

===Introduction===

===Literature Review===

===Methods and Theories===

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

===Subtitle 3===

===Subtitle 4===

===Conclusion===

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

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

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

<center>Tong lueya</center>

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

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

===Introduction===
The development of modern science and technology has brought human society into a new era, where ubiquitous information has become an important feature of today’s society. Alvin Toffler, an American futurist, predicts the future of human society with optimism: the shape of future society is an information society in which information explodes and knowledge becomes wealth (1985). This kind of society is called digitalization. Generally, digitalization is the process of converting information into a digital (i.e., computer-readable) format. The result is the representation of an object, image, sound, document or signal (usually an analog signal) obtained by generating a series of numbers that describe a discrete set of points or samples. The result is called digital representation or, more specifically, a digital image, for the object, and digital form, for the signal(Wikipedia). The high dependence on mobile hardware such as mobile phones and tablets and the high viscosity of software platforms such as Weibo and WeChat are typical features of the digitalization era. In the era of ‘digitalization’, the basic way of human existence has expanded from the traditional single - real world to a new model in which the real world and the virtual world coexist. In such an existential situation, the interaction between the real world and the virtual world, the natural platform and the digital platform, has led to a profound change in the way humans grasp the world. With the rapid development of new media, there has been a profound change in the spread of culture and information. The “digitalization era” has invaded every aspect of people’s lives, profoundly affecting the way people read, think and understand. New ways of accessing information through new technologies and devices are also rapidly changing the way we read, in terms of how we read, what we read, how often we read, how much we read and how deeply we read.

Reading is an important activity in human society. Through learning and reading, the knowledge and experience accumulated by mankind could be systematically preserved, inherited and then create a glorious culture and spread it. The classics are the crystallization of human civilization and reading them is of great significance to individual growth and social development. The rapid development of science and technology provides a new opportunity and a new way for people to read classics, but it also brings a great impact on the traditional classical reading mode of paper reading. Therefore, this paper gives a brief analysis of the current status of classics reading in the digitalization era, then some strategies are put forward. It’s hoped that people could make use of the modern science and technology to better promote the classics reading. Based on this, the papers mainly includes five parts. The first part is an the background and purpose, the second part is a brief introduction of Chinese classics. The third part is the analysis of the current situation of classics reading. And some strategies to promote classics reading in digitalization era are put forward. The last part is the conclusion.

===What is Classics?===
To begin with, we need to know what is the classics and why we need to read classics or what’s the significance of reading them. As for what is classics, famous scholars at all times and in all over the world have their own understanding of them, but their views on which works can be called classics are basically the same. Jorge Luis Borges, a famous writer of Argentina, believes that “Classics are books that one or more nations have decided to read for a long time, and books that people for generations read with great enthusiasm and mysterious loyalty for different reasons (2015).” What is more popular is the first definition of classics in ''Why to Read Classics'' by Italo Calvino of Italy, classics are books that you often hear people say “I am rereading...” rather than “I am reading...(2006)” The classics can be succinctly summarized as a general record of the wisdom of the sages and the essence of culture. In the long history of the world, there is no shortage of books of all kinds. Among these vast books, not all of them are classics, but only those that have endured for a long time and contain the great spirit of the text can be worthy of the title ‘classic’.

The classics are the crystallization of human civilization and reading them is of great significance to individual growth and social development. As for why we need to read classics, the typical view is that “Classic reading has the value of acquiring knowledge, promoting the development of thinking and training the ability to express oneself in one’s mother tongue; classic reading has the value of leading growth, cultivating the mind and cultivating aesthetic appreciation; classical reading has the value of passing on national culture, promoting national spirit and improving national cohesion (Ying Kerong, 2011).” In my opinion, reading classics teaches us life lessons through human history. These books are like a mirror through which we can see the lives of others. We can make ourselves better by comparing their good deeds and their bad points. Many literary classics can move today’s readers because they can arise strong emotional resonance when placed in the current real life. Reading classics can be regarded as a process of searching for spiritual home. People are always unsatisfied with the arrangement of fate and the domination of the status, always trying to transcend reality, looking for their ideal personality and way of life. The classics contain the thinking and exploration of the ancestors on people, humanity and life, and express the thinking of the sages on truth, goodness and beauty, which can not only comfort the hearts that have been violated in the real society, but also lead people to transcend reality.

===The Current Situation of Classics Reading in the Digitalization Era===
The development of digital reading has greatly changed the way people read, the contents, forms and channels of people’s access to knowledge. According to the results of the 17th national reading survey released by Chinese Academy of Press and Publication, the exposure rate of digital reading in China was 79.3% in 2019, up 3.1 percentage points from 76.2% in 2018. In 2019, the contact rates of online reading, mobile phone, e-reader and tablet reading of Chinese adults all increased (Baidu). Digital reading has played a positive role in the convenience and timeliness of reading. Through various media, readers may have a richer reading experience and constantly broaden their reading world. Then what characteristics of classics reading are there in the digitalization era?

1. Fragmented reading.

In the era of screen reading, people tend to read fragmentedly. Online social media such as Weibo and WeChat take up people’s leisure time. In general, it takes a lot of time to read the classics, and people usually have no time to read the classics. Many people say they want to read some classics, but they feel like they don’t have the time. In fact, it is not that they have no time, but that time is taken up by the mobile phone screen. In addition, due to the convenience of obtaining information in the screen reading era, especially a variety of search engines and digital tools, people are gradually used to reading fragmentedly. If you need a chapter or paragraph of a classic, the search engine will find it directly without having to read the classic from beginning to end. Even if it is necessary to quote the ideas in writing a graduation thesis, most people seldom read the whole classic, but use digital tools to obtain it (Pan Feng,2015).

2. Entertaining reading.

In the era of screen reading, the reading content of people tends to be entertaining. Movies, dramas, TV shows and other entertainment video programs are the first choice for many people in the screen-reading era (Pan Feng, 2015). Some long TV dramas have hundreds of episodes, but some people will watch them one episode after another. All kinds of entertainment news, especially the scandals of stars, will cause the hot spots and discussion among people. Weibo, WeChat and other social media also play a role in entertaining reading. Everyone is talking about a star or a TV show, and if you don’t know, it’s obviously you are out of date. In addition, in the screen-reading era, people also like to read some comics, electronic periodicals and other recreational things. The entertaining reading in the screen-reading era has a great impact on the reading of classics (Pan Feng, 2015).

3. Superficial reading.

It also known as “shallow reading”. What is shallow reading? According to the relevant reports over the years, it can be summarized as follows: firstly, the so-called “picture reading era” is advocated, in which books with more pictures and less text are popular; secondly, the so-called “speed reading” is advocated. Those books with the center meaning that reading this book you are equivalent to reading 100 classics and similar fast-reading books are popular. The third is to advocate “fashionable reading” and “easy reading”, that is, to dabble in it without thinking deeply, let alone studying it carefully. The fourth is to advocate the so-called “fantasy” and “time-travel”, many people are fond of fantasy, time-travel and romantic online novels such as The Lost Tomb. As a result of the superficiality of the screen-reading era, people seldom pay attention to classics (Pan Feng, 2015).

4. Utilitarian reading.

In the era of digitalization, college students’ reading also shows a utilitarian tendency. The survey shows that the utilitarianism of college students’ reading is gradually strengthened. Many skilled and practical books account for most of the shelves. Among these books, CET-4 and CET-6 books, computer grade test books, postgraduate entrance examination books and other test books are the most popular. In the extracurricular reading time, this kind of books have also become the first choice (Panfeng, 2015). When visiting several large bookstores, I also found that the most prominent and best-selling books in the bookstores are often all kinds of exam preparation books. I think this to a certain extent indicates that the current employment pressure of college students, and reading is based on the needs of the real society. And utilitarian reading is not conducive to the long-term development of college students. “Forget after examination” is the remarkable characteristics of utilitarian reading for college students.

5. From one-way to interaction.

In the digital world, the significance of distance is getting smaller, the society is reorganized by the Internet, and people form a new association with a common sense of belonging through spiritual communication in the electronic space. In today’s electronic media era, the Internet world is full of all kinds of information, and its interactive function cannot be provided by paper books. The Internet provides technical conditions for the new acceptance relationship and expands and strengthens the communication and contact between the author and the reader. Through a variety of electronic media represented by the Internet, authors can push their works, especially individual experience, to the whole world in the era of electronic media, reading can become very personalized, readers can read according to their own interests and hobbies, and works can be produced according to the different needs of viewers (Pang Zhen, 2008).

===Strategies to Promote Classics Reading in Digitalization Era===
1. '''Awaken readers’ interest in reading classics'''

As Woolf said in How Should We Read? “If those authorities-- no matter how illustrious they are-- are allowed to enter our library and let them tell us how to read and what kind of books to read, and then evaluate what we read, this would stifle the free spirit of the aura of the holy land of the library”(Woolf, 2001). The promotion of classics, no matter how much emphasis on the significance of classics, is not as good as igniting interest in reading.

(1) Explore the present value of classics and arouse points of interest

The familiarity with the classics (only the names and general contents of classic works) makes readers have little interest on them. The promotion of classic reading should pay more attention to the contemporary significance, explore the current value, combine them with social reality and hot issues, and process them in depth to trigger readers’ points of interest.

(2) Focus on the reader’s reading experience and protect reading interests

The reading experience beyond expectation can arouse readers’ interest, making it easier for them choose to read classics. Providing better reading experience for classic reading is an aspect that should not be ignored in reading promotion.Better reading experience not only comes from the content of the works, but also includes different versions of classic works, different translation versions, even emotional and visual experience such as layout and font. It is also important to identify and select excellent translators and excellent editions, etc., so as to create and provide readers with humanistic value, social value and emotional value besides classic reading. For example, carefully select some of the classic content, extract the essence and provide a wonderful trial reading; discarded unclear fonts, small font size, confusing pages, and advertising-filled pages or web pages, and tried to present classic works as perfectly as possible to maintain readers’ interest in reading (Luan Xuemei, 2015).

2. '''Change fragmented reading into a sustainable reading experience'''

(1) Make the most of fragmentation time

Libraries should actively carry out classic reading promotion marketing to compete for fragmented time with readers who are inundated with information and games. First of all, it is important face up the fragmented reading habits of readers, and carry out fragmented reading marketing. Make full use of the library’s website, Weibo, wechat, social networks and other related media, covering the fragmentation time through all channels, and actively approaching readers. Secondly, we need to have fragmented consciousness when promoting reading. The promotion of classical reading should carry out a special promotion plan for fragmented reading, and guide readers to manage the fragmented time purposefully and step by step (Luan Xuemei, 2015).

(2) Provide a coherent reading experience

Tome classics are often daunting, and in a state where information is being refreshed every moment, people tend to have no patience or time to challenge a work that requires a long time. In the promotion of classic reading, libraries should pay attention to reading in the fragmented state, provide readers with a coherent reading experience, and integrate online digital reading with offline traditional reading, so that fragmented time can also be used to read classics. For example, in the provision of classical literature resources, paper books can provide handy pocket books, while e-books need to keep the reading status synchronized between different devices through the Internet to maintain reading continuity, so that anyone, at any time, anywhere, using any device can read freely and continuously, and resist fragmentation reading through the fusion of media and the aggregation of content. In addition, when promoting classic reading, by adding QR codes to paper classic books, readers can access online classic reading resources and related rich media resources with their mobile smart devices, so that they can realize online and offline conversion anytime and anywhere and obtain coherent reading experience (Luan Xuemei, 2015).

(3) Change browsing into reading

The writer Wang Meng (2014) pointed out with concern that “if we use highly comfortable, convenient and quantitative means to obtain information for a long time, and use internet browsing instead of reading and thinking, human beings will become idiots”. According to reading studies, skimming and scanning are the main behavioural characteristics of browsing, and classics that need to be savoured are often ignored and skipped. According to reading studies, skimming and scanning are the main characteristics of browsing, and classics that need to be carefully tasted are often ignored and skipped. Therefore, the library should focus on grasping the reader’s attention in fragmented time, distinguish different types of classic works, adopt different promotion methods and presentation methods, and can't make one-size-fits-all promotion.

For example, classic works such as Chinese and foreign poems, essays, and Chinese and foreign classical short stories, which are easily divided into small independent units, do not need to be promoted as a whole, and unit promotion is easier to grab readers’ attention and their reading pressure, so as to turn browsing into reading.

For voluminous works, it is more appropriate to capture readers’ fragmented time by means of exciting trial readings to trigger their attention and interest, so that they can make the transition from online browsing to offline reading. In the internet age, social networking, sharing and reading follow each other, for example, 83% of news is paid attention to by sharing (Baidu), and social networks such as WeChat and Weibo should become an important place for the promotion of classic reading. If news attract attention through its “new”, then to promote classic reading should also find the unique promotion point of each classic, so that readers can turn their online attention and browsing into offline reading.

3. '''Create reading topics and guide readers to read the classics completely'''

In the digitalization era, reading guidance plays an important role in the deep reading of classic texts. Promoters should be good at leading readers to go deep into the text and then surpass the text.As Benjamin experienced in his childhood, “You never read a book, but you live in it, wandering idly between lines” (Shi He, 2016), reading requires empathic experience and participation in action. Thus, readers in self-media era need more participation and communicative guidance.

(1) Manage readers’ comments to make reading insightful and warm

Classical reading promoters should also be readers, giving reading guidance and feedback to the classics they promote is a deeper expansion of classical reading promotions, and also a powerful boost to readers’ in-depth reading in the digitalization era. For example, when using micro blog and WeChat to promote reading, we should pay attention to the messages left by readers and give positive response, so as to improve reading quality and enthusiasm for participation, encourage thinking and promote reflection. The reply and comment to the reader’s message will stimulate the reader to read the classic reading content twice or three times, which is beneficial to the deepening of reading. On this basis, promoters can also establish classic reading WeChat communication group, QQ group, etc. to support the in-depth reading and communication (Luan Xuemei, 2016).

(2) Comply with the needs of readers’ reading and reasonably divide reading tasks.

Proper divide of reading tasks can effectively reduce readers’ reading pressure. Classics can be divided according to the chapter, the narrative order, or according to the theme, the relationship between the characters, and the logical relationship. For example, when promoting classic reading at WeChat public accounts, promoters can design and launch continuous reading units, launch such articles as “Reading Classics in Five Minutes,” and attach the library’s paper resources and digital resources links to facilitate readers’ offline reading, which not only conforms to the need of fragmented time, but also ensures the integrity of classics.

(3) Capture the readers’ attention, encourage creative promotion, and enhance reading stimulation.

It is difficult to arouse readers’ attention only by the classic text of words. Reading promotion should pay attention to the stimulation to readers, appropriately add some appropriate entertainment factors, and encourage creative promotion to arouse readers’ attention. Promotions such as WeChat and Weibo can be accompanied by vivid, lively and appropriate illustrations, cartoons, even online expressions, or slightly exaggerated online language etc., and actively approach readers. Games can also be added to stimulate reading, such as classical reading progression rewards, “through the game strategy to stimulate readers’ participation and engagement, increasing their interest and Joynes” (Luan Xuemei, 2015).

===Conclusion===
The arrival of the internet has brought a certain impact on paper books, but books are only a medium and people cannot gradually give up reading classical literature just because of the rise of internet reading. Therefore, the network needs to be constantly improved, combining internet reading with literature to enhance users' interest and reading of literary works, thus promoting the heritage of China’s classical literature and the continuous development of modern literature.

===References===
Alvin Toffler [阿尔温·托夫勒], Ren Xiaoming [任小明译]. 1985. Future Shock, Sichuan People’s Publishing House. [《未来的震荡》，四川人民出版社]

第十七次全国国民阅读调查显示The 17th National Reading Survey：2019年我国成年国民人均每天读纸质书不到20分钟.

Https://baijiahao.baidu.com/s?id=1664764747350005908. 2020-04-23.

Italo Calvino [伊塔洛·卡尔维诺]，Huang Canran&Li Guimi[黄灿然,李桂蜜译]. 2006. Perché leggere i classici [M]. [《卡尔维诺经典:为什么读经典》，南京:译林出版社]
Jorge Luis Borges [豪尔赫·路易斯·博尔赫斯著], Wang Yongnian[王永年等译]. 2015. Otras inquisiciones. Shanghai Translation Publishing House. [《探讨别集》, 上海译文出版社2015年版, 第273页]

Luan Xuemei [栾雪梅]. 2015. Study on the Misunderstandings and Countermeasures of the Promotion of Classical Reading [J]. Library and Information Service 59(02):51-55. [经典阅读推广的误区及对策研究，图书情报工作]

Luan Xuemei [栾雪梅]. 2016. The promotion strategies of classic reading in “micro era” [J]. Library and Information Service 60(18):115-121. [“微时代”的经典阅读推广策略，图书情报工作]

Pan Feng [潘凤]. 2015. Effective ways to promote college students’ classic reading in micro era [J]. China Higher Education (24):41-43. [微时代大学生经典阅读推广的有效路径，中国高等教育]

Pang Zhen [庞臻]. 2008. Primary Study on Teaching Strategies of Chinese Reading in Senior High School in the Age of Electronic Media [D]. Nanjing Normal University. [电子媒介时代的高中语文阅读教学策略初探，南京师范大学]

Shi He [匙河]．阅读是一场惊心动魄的历险［N］．中华读书报，2016－05－25(16) ．

Wang Meng [王蒙]．长期用网络浏览代替阅读思考人类会变白痴［EB/OL］. www.hkstv.tv/index/detail/id/6285.html. 2014-09-26

Woolf [伍尔芙]. Liu Bingshan&Sunliang[刘炳善,孙亮等译]. 2001. Collected Eaasys of Woolf [M]. China Social Sciences Press 2001:467. [伍尔芙随笔全集，北京:中国社会科学出版社]

移动媒体趋势报告:中国网络媒体的未来［EB/OL］．www.199it.com/archives/291135.html. 2014-11-12．

Ying Kerong [应克荣]. 2011. Classics and Classic Reading: Reflections on the Value of Reading in the Context of Network Culture [J]．Publishing Research (2):50－51. [经典与经典阅读:对网络文化背景下阅读价值的思考，出版发行研究]

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

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

<center>庹树梅</center>

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

===Key words===

===Introduction===

The Canonization of literature is not a new topic in Western literary theory and cultural studies, as the discussion of the "literary classics" series started in the 1960s. In the early 1990s, Dutch scholar Fockema came to China to give lectures, leading to the awakening of classical awareness in Chinese literary theory. In this discussion session, I research many filelds from various majors, including ancient and contemporary Chinese, foreign literature, literature and art, and film and media, in the hope of gaining more insight into how to confront contemporary literature and conduct Canonization studies as different professional perspectives collide. The classic literature has been tested for a long time and can withstand people's scrutiny and taste, supplying generation after generation to learn and taste in the process of inheritance. The richness and depth of thought encompassed in "Dream of the Red Chamber" far surpasses that of any other ancient Chinese literary classic. "Redology" has been recognized as a contemporary epigraph, forming a worldwide discipline of learning.
Second, what is Canonization?
Canonization is a proposition in the modern context, which was gradually developed in China after its introduction from the West. The discussion of classicism in the literary world is one of the focal points of cultural studies, and the classicism debate in the West is the most influential and representative in the United States. In the 1960s and 1970s, advocates of multiculturalism in the United States began to question the legitimacy of the traditional literary canon from the perspectives of class, race, and gender, which was an inevitable reflection of the social and political movements of the time in cultural and academic terms. They argued that the canon was historically constructed according to authorship and that the literary canon of the past was a Eurocentric and "WASP" (White Anglo-Saxon Protestant) construction. By the early 1980s, the classics debate was gradually influencing the development of university textbooks and the construction of white Anglo-Saxon Protestantism.
With the emergence of a series of essays and scholarly works, two opposing trends emerged that called for opening up and broadening the classics and defending the classics and upholding the great tradition of classical humanism. It is generally believed that the domestic attention to the classical issue began with the academic lecture "Literary Research and Cultural Participation" given by the famous Dutch scholar Professor Fokma at Peking University in 1993, followed by the lecture "The Legitimization of Literary Research" given by the Canadian scholar Steven Totosi in 1995, which discussed the classical and Canonization issues in depth. Along with the popularity of popular culture and the rise of cultural studies, the debate over classics and Canonization has arisen in literary history and literary theory. The centuries-old Chinese literary classics, the adaptation of red classics, the aestheticization of everyday life, and the discussion of the boundaries of literature and art have instantly become hot spots in the academic world. Although the historical contexts of the debates between Chinese and Western scholars are different, the discussions all focus on a series of basic theoretical questions such as whether to adhere to the aesthetic autonomy of literature or to open up to cultural studies, and whether classics are determined by intrinsic values or by external factors.
To answer the question of what a classic is, it is impossible to leave the question of how a classic is formed, that is, the question of Canonization. What is Canonization? In his book The Legitimation of Literary Studies, Steven Tosi says: "In general, I believe that one cannot fully explore the classics - at their already classical level - without studying their formation. No exploration of what the classics are can be complete without studying how they are formed completely." According to Itamar Eve-Zohar, "' Canonization ' means the legitimization of those literary forms and works that are accepted by the dominant circles of culture and whose notable works are preserved by this community as part of its historical tradition". It is clear that what is called Canonization is also the process of Canonization is also the formation of the classics. In fact, the Dutch scholar Fokma proposed the "canonization formation" (canonization formation), which some scholars believe is more appropriately translated as classical formation, that is, Canonization. The problem of Canonization is to study how the classics are established and formed in history under the joint action of various factors, and furthermore, to study which factors determine the classics in the process of formation in what way.

===Literature Review===

With the further development and modernization of society, people's lifestyles and ideologies are also undergoing great changes, and literature is no exception. Therefore, "classicization" has once again become a hot topic of discussion in the literary world. The proposition itself has a rich and complex connotation and extension, and there is a crossover and fusion between history and literature, so it can always be said.
In his article, scholar Wang Yanhua analyzes the classicization of the Psalms as an example, applying André Lefebvre's theory of controlling the literary system, arguing that professionals within the system and external patrons provided favorable internal and external conditions for the translation and dissemination of the Psalms in Britain, and that the combined efforts of the two contributed to the classicization of the Psalms in Britain. In addition, influential and professional publishers also contributed greatly to the classicization of the Poetic Edda, which was an important channel for the classicization of the Poetic Edda, and institutions of higher learning also offered courses on the Poetic Edda, which also provided basic guarantees and shortcuts for its classicization.

Sha Xianyi and Zhang Hongsheng (2013) have pointed out that literary classics are works that have withstood the test of time and embodied fresh vitality in constant reading and interpretation. The formation of classics is mainly about how writers and works acquire the status of classics in the process of dynamic evolution. The article focuses on the classicization of Qing lyrics. The author first points out the composition of the classic beauty of Qing lyrics, arguing that Qing lyrics have improved in subject matter, creative techniques, and lyrical context and thus have the connotative characteristics of classicization. The Qing people also had a sense of classicization, classicizing their own contemporary and predecessor's words, and classicizing their own words. In addition, the Qing words were different at different stages, and the compilers were mostly famous lyricists and were consistent. The author concludes with the confirmation of the classicization of Qing lyrics since the Republican period and points out the problems in the process of classicizing Qing lyrics, such as the insufficient classicization of Qing lyrics due to the inferior historical origin of the Qing dynasty as well as the literary tradition of emphasizing the ancient over the modern, but also points out that some progress in the current classicization of Qing lyrics cannot be ignored as well.

As China's international status has increased and its literature has developed, Chinese literature has also made an impact internationally. In his paper, Chinese scholar Li Ping discusses the construction of classicization of Chinese literature in the English-speaking world, the constraints and countermeasures. Li Ping points out that "canonization (classicization) refers to the process and way in which a literary work is finally accepted and recognized as a classic work with genius and originality after repeated readings by readers and long-term studies by critics and experts and scholars." (2016) He first defines classics and classicization, and also considers the path of classicization of Chinese literature into dynamic and static paths. Secondly, he also states the conditions for the construction of classicization and the internal and external factors for the classicization of Chinese literature in the English-speaking world. Finally, the constraints on the classicization of Chinese literature are discussed again, and the problems in literature itself as well as in literary translation are analyzed.

Tong Qingbing, a famous scholar, takes Dream of the Red Chamber as an example and discusses why Dream of the Red Chamber has become a classic
The reasons why "Dream of the Red Chamber" has become an "evergreen tree". It is found that there are two poles of literary classicization:one pole is the artistic quality of the writings, and the other pole is the acceptance of the text. Only works with high artistic quality and a vast space of meaning, works with an authoritative position to participate in reading and commentary, and works that have achieved the connection between the two poles, can become literary classics. On the first level, Dream of the Red Chamber is a major breakthrough in artistic depiction. A major breakthrough in the "romance" model of fiction. Typicality, context and imagery appear simultaneously. In the second pole, the classicization of a literary work still needs a broad mass base, so it must be read, reviewed and studied by generations of readers, especially by people with power and scholarly qualifications, in order to continue its classic status. The Dream of the Red Chamber has achieved both of these extremes, and has therefore become a classic "evergreen", and has been held as a classic by future generations.

In general, each dynasty has its own literary works that are worthy of classicization. This article compares articles on the classicization of literature in different dynasties in order to clarify their development.

===Artistic Value===

Dream of the Red Chamber" is the only work in China that has been studied in one book over the ages and has established a specialized discipline, which is known as "Redology". The number of people who have entered the circle of "Redology", from top officials, scholars and famous writers down to ordinary researchers, is so large that it is comparable to the Western "Shakespeareology". What is particularly puzzling is that no matter how political power changes and no matter how ideology is "manipulated," Dream of the Red Chamber's status as a literary classic is unshakeable, unlike other works that fluctuate in power and ideological changes. It can be said that Dream of the Red Chamber is a classic "evergreen tree", what is the mystery here?
Dream of the Red Chamber, an 18th-century Chinese classic novel, has since become an "evergreen tree" of literary classics, above all because of its extraordinary artistic quality. It depicts the rise and fall of a large family and a love tragedy, and there is nothing unique about its subject matter, but its description, narrative and lyricism bear a high artistic mark. Here I would like to talk about the artistic qualities of Dream of the Red Chamber in these points

3.1 Literary Value
As one of the Four Great Masterpieces of China, Dream of the Red Chamber has a profound literary value. In particular, Dream of the Red Chamber, as an ancient form of narrative novel in China, not only provides opportunities for the innovation of literary works but also provides a constant source of inspiration for the creation of novels in China, making the characters in the novel more rich and diversified. First of all, the author of The Dream of the Red Chamber uses his own feelings as the subject matter to write the novel around the rise and fall of the four families, which is rare in the history of Chinese fiction. Through reading the novel, readers can gain a deeper understanding of the thoughts and emotions of the characters. Secondly, the writing style of Dream of the Red Chamber breaks through the traditional techniques of writing and narrating people, so that the characters are not limited to the "good guys" and "bad guys", but are based on life practices, flesh and blood, and emotions. For example, the character of Wang Xifeng is still being debated today as a positive and negative character. This is where Cao Xueqin's writing is masterful, delving into human nature and presenting it as it really is. This is the beauty of Cao Xueqin's writing, which delves into human nature and presents the true face of human nature through ink and brush, allowing readers to explore the characters themselves. At the same time, each character in Cao Xueqin's writing has his or her own identity, which is also the viewpoint advocated by Lu Xun. Finally, Dream of the Red Chamber has a wide range of life images, from the rituals and teachings to the happiness and sorrow of the characters, which makes the characters and images and the interpretation of events more rich and delicate, and this writing method is also not available in previous novel subjects. In short, "Dream of the Red Chamber" has a high literary value in the development process of the times, and is worthy of being passed on and carried forward by future generations.

3.2 Ideological Value
The ideological value of "Dream of the Red Chamber" is far-reaching, and the author conveys his ideological concepts through his work "Dream of the Red Chamber". It can be said that "Dream of the Red Chamber", as a masterpiece of the Qing Dynasty, is more advanced in its ideological concept and manifests its own unique ideological value. First of all, "Dream of the Red Chamber" breaks the narrative mode of previous novel subjects and integrates
A large number of poems and poetical texts reflect the views that Cao Xueqin wanted to convey and show a certain aesthetic thought. Secondly, "Dream of the Red Chamber" breaks the traditional patriarchal concept of women and advocates equality for all. At the same time, Jia Baoyu often says, "Daughters are flesh and bone made of water, men are flesh and bone made of clay," and Jia Baoyu's character development is more inclined to daughters, believing that daughters
This further demonstrates Cao's respect for women. Finally, Dream of the Red Chamber conveys the values of valuing the individual in social development and despising individual life. For example, in choosing a bride for Jia Baoyu, Jia's mother places more importance on the future daughter-in-law's ability to take up the burdens of the Jia family rather than favoring Jia Baoyu's love, for which she later chooses Xue Baochai at the expense of Lin Daiyu. And the transmission of this idea is still bound by the concepts of the times. Cao Xueqin mainly shows the love between Jia Baoyu and Lin Daiyu in his works, but under the real choice, people all need to face the reality and seek individuals who can give their support at the social level.

3.2 Food Value
The inheritance and development of "Dream of the Red Chamber" manifests its own dietary concepts and values. In the work "Dream of the Red Chamber", the chapters written about food occupy 30% of the chapters, such as: the porridge and rice of the Jia House in the old days were more elaborate, which depicted porridge such as Bijou porridge, bird's nest porridge, Yuda japonica rice porridge, ice sugar bird's nest porridge, La Ba congee, jujube japonica rice porridge, red rice porridge, duck meat porridge and so on, which provide references for modern diet. In the course of "Dream of the Red Chamber" circulating in the world, many readers made cooking delicacies by reading the work and imitating the recipes of "Dream of the Red Chamber". In "Dream of the Red Chamber", not only does it contain a diversity of ingredients, but it also shows the details of the characters' use of ingredients, making them more vividly portrayed by the careful use of ingredients. For example, in Liu Lou Lou's Second Journey into the Grand View Garden, information about the daily recipes of the Jia family is presented through Liu Lou Lou's mouth and actions, which fleshes out the character of Liu Lou Lou and promotes the dissemination of ingredients, recipes, and eating habits of the ancient family. The practical study of the literary features and literary values of Dream of the Red Chamber should be based on the Dream of the Red Chamber itself, delving into the intrinsic features and literary values of the Dream of the Red Chamber, from which valuable literary ideas can be obtained to help future generations further understand and read the Dream of the Red Chamber, as well as to help pass on the Dream of the Red Chamber. In today's development of literary works, studying the literary value, ideological value, dietary value, and aesthetic value manifested in Dream of the Red Chamber has contributed to the development of society.

3.3 Dream of the Red Chamber is a major breakthrough in artistic depiction.
It artistically blends objective and subjective descriptions. The depiction of life in Dream of the Red Chamber is as original, rich, diverse, and complex as life itself, and can be said to have reached the point of being a perfect blend. Although by and large "Dream of the Red Chamber" is only about the life of a large family, the life involved is very broad. We can even say that the world depicted in Dream of the Red Chamber is as vast as life is.
The problem is not entirely in the author's reflection of life. The problem is not entirely in the vastness of the author's reflection of life, but more in the faithful grasp of life, that is, the author respects the inherent logic of life to write, "respects" the trajectory of each character's own character, does not treat them as puppets, does not impose his own good or bad on the characters, arbitrary praise and blame. Even for Jia Zheng, Madam Wang, Wang Xifeng, the author can also be very objective treatment, let them say what they say, do what they do, fully write their diversity and complexity.

3.4 the significance of communication
Dream of the Red Chamber is one of the pinnacles of classical Chinese fiction and a shining pearl in the forest of world literature. For overseas readers, Dream of the Red Chamber is an encyclopedia depicting traditional Chinese society in a panoramic manner and a pot of treasures containing many outstanding elements of classical Chinese culture. The novel of the Qing Dynasty, with its rich aesthetic connotation, great artistic charm and profound humanistic philosophies, has been able to transcend the boundaries of time, space and culture and infect many contemporary and foreign readers through interlingual code-switching. The multilingual translation and international dissemination of Dream of the Red Chamber is not only an important way to reconstruct the value of the text, but also an effective carrier for the international promotion of Chinese language and cultural exchange between China and foreign countries. An excellent literary classic is not only the pride of a nation, but also a great cultural messenger and a window to showcase the country and nation. In the process of telling Chinese stories and conveying Chinese voices, great literary classics, especially classics like Dream of the Red Chamber, cannot be absent. Classics are exemplary and leading, marking the literary height of an era. Without classics, literary achievements cannot be shown in terms of quality. The Canonization process of Dream of the Red Chamber goes hand in hand with the development of Red Studies, and as researchers have pointed out, the development of academic research is always accompanied by academic controversy. The existence of such and such academic controversy in the new era of Redology is a normal academic phenomenon, which should be treated with a normal and academic attitude, adhering to academic norms and creating a good academic atmosphere, and academic discussions will develop healthily. The vitality of Redology is not only in the disciplinary efforts of many scholars on the study of "Dream of the Red Chamber", but also in the continuous expansion of the field of Redology, the increasingly close relationship between "Dream of the Red Chamber" and cultural tourism, and cultural and creative industries, and integration into social development, the development of cultural undertakings in the general trend. The contemporary dissemination of Dream of the Red Chamber presents an unprecedented plurality, and researchers in red studies should actively adapt to the needs of the times, constantly improve their own knowledge structure, adjust their research paths with a strategic vision of development, update their research methods, and open up new paths, new horizons, and new horizons for the development of red studies.

3.5 Connecting the two poles of research vision and literary classicism
"Artistic quality" and "textual acceptance" need to be connected in order for the framework of literary classic to be supported. The work needs to reflect the "inexhaustible", always leaving people with space for reverie and reflection, but ultimately back to the text itself, as long as the work has an infinite breadth of ideological significance, it can be excavated in different depths, even some of the original author botched the meaning. Only such works can stand in the wash of time, under the storm of cultural ideology and the constant judgment of cultural rights. The most typical examples of these are Shakespeare in the West and Cao Xueqin in the East. As previously discussed, the breadth and depth of life depicted in Cao Xueqin's Dream of the Red Chamber has reached an extreme that cannot be surpassed by ordinary people, and there is no way that the meaning in his writings left to the world can be easily deciphered completely. It is a work of transcendence. It can stand up to the wear and tear of time, to different ideologies and cultural impulses, and to the scrutiny and excavation of different research perspectives. In other words, due to the artistic quality of the work itself, it can open itself to various research horizons with its pluralistic structure of invocation. It opens up to various research horizons, thus forming a docking of the two poles of literary classicism. Unlike the aforementioned indexists and examiners who work exclusively from the outside of the work, Wang Guowei's Commentary on Dream of the Red Chamber seeks to return to the value structure of the Dream of the Red Chamber itself. The vision of Wang Guowei's commentary is Schopenhauer's philosophy of life. What is the relationship between Cao Xueqin, an 18th-century Chinese writer, and Schopenhauer, a 19th-century German philosopher? What is the relationship between Cao Xueqin's concept of "color and emptiness" and Schopenhauer's philosophy of life? However, after Wang Guowei read Dream of the Red Chamber and understood Schopenhauer, he finally made a logical connection between the philosophy of life, which is that life, desire, and pain are all one, and the reality that "those who have a desire for life are always in pain".
The above examples illustrate the two poles of the literary classicization process. There may be different connections depending on the work. We cannot be sure that the problem of literary canonization can be explained by a single vision of the role of external so-called power and ideological "manipulation". It is very important to fully understand these two poles and their connections in the context of literary classicism. It is very important. For the ongoing discussion of literary classicism. We deserve a more convincing and nuanced reflection on the ongoing discussion of literary classicism.

===Conclusion===

Dream of the Red Chamber, an 18th-century Chinese classic novel, has since become an "evergreen" literary classic, first of all because of its extraordinary artistic quality. It depicts the rise and fall of a large family and a love tragedy at the time, and there is nothing unique about its subject matter, but its description, narrative and lyricism bear a high artistic mark. In general, Dream of the Red Chamber has great aesthetic and literary value, so it has become a modern literary classic. Not only that, from the beginning of the creation of Dream of the Red Chamber, it has been in the process of Canonization. Times are changing, but what remains the same is the excavation of the intrinsic value of the works of Dream of the Red Chamber, which therefore has a pivotal position in the literary world and even set off a wave of Redology in foreign countries first. It is of indelible significance for the promotion and propagation of Chinese traditional culture, and its English translation is even more important as a springboard for foreign countries to understand Chinese traditional culture and Redology. Dream of the Red Chamber, a classic of Chinese culture, is an inevitable development of history, one of which is the globalization context.
This is an inevitable process for national cultural classics formed under previously closed cultural conditions to be verified for their universal value and then to achieve the status of a global classic. Second, as a Chinese cultural classic, it has the mission of constructing Chinese cultural identity and establishing a multicultural order in the world in an intercultural context.

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